Ben-Hur is considered to be the most successful of all old school Hollywood historic epics and one of the greatest films of Metro-Goldwyn-Meyer, studio that in many way epitomised Classic Hollywood in all of its glory. This achievement is greater considering long, difficult and financially demanding production. Those difficulties could have been even bigger if MGM executives hadn’t got fortune to learn on some of their previous experiences when covering the same story decades earlier in Ben-Hur: A Tale of Christ, 1925 film directed by Fred Niblo, known as the most expensive silent film ever made.
The film is based on the eponymous novel by Lew Wallace, known as the most popular work of 19th Century American literature. Its popularity was maintained in first decades of 20th Century through stage play. In 1907 it served as basis for short silent film that gave extremely shortened version of the events from the source and was later subject to copyright infringement lawsuit. 1925 version was, on the other hand, first “proper” adaptation of the novel with film rights obtained for a hefty sum from theatrical producers Marc Klaw and Abraham Erlanger. Plot begins by depicting events related to birth of Christ and visit by Three Wise Men. Many years later we are introduced to protagonist, Judah Ben-Hur (played by Ramon Novarro), the last heir of rich and respectable Judean family in Jerusalem. He is in love with Esther (played by May McAvoy), daughter of his family’s trusted slave and accountant Simonides (played by Nigel De Brulier). Trouble for Judah arise with an arrival of Messala (played by Francis X. Bushman), Roman officer who used to be his best childhood friend but now treats Judah and his Jewish people with disdain and hostility. When a tile from Judah’s house accidentally falls off and nearly kills Roman governor, Messala is quick to put not only his friend to prison, but also Judah’s sister Tirzah (played by Kathleen Key) and mother (played by Claire McDowell). Messala is sentenced to work as slave on Roman galley and spends years dreaming of revenge. When the galley takes part in battle against pirates, Judah saves the life of Roman commander Quintus Arrius (played by Frank Currier) who, as a sign of gratitude, not only gives him freedom but adopts him as his son. After many years, during which he won affection of Rome’s masses as charioteer, he ventures to Antioch to seek Simonides and Esther. There he finds that Messala is going to take part in spectacular chariot race so he accepts offer of Sheikh Ilderim (played by Mitchell Lewis) to race for him and thus get his revenge.
When it comes to comparing 1959 version with this film, it is very easy to notice that the older film looks inferior, even with its technical limitations – lack of sound and colour (except in few scenes, mostly of religious nature, that were made through primitive two-strip Technicolor) – taken into account. Old Ben-Hur is shorter, but, like so many silent films, suffers from melodramatic anoveracting of its cast, which is probably most visible in the scene when old childhood friends Judah Ben-Hur and Messala reunite; Ramon Novarro and Francis X. Bushman look quite weak and uninspired compared with Charlton Heston and Stephen Boyd in their respective roles. However, for those who have seen this film for the first time in mid 1920s, Ben-Hur was truly amazing and breathtaking experience. That was especially so in the scenes delivering unprecedented visual spectacle, most notably in naval battle which had been shot near coast of Italy number of large custom-made replica of ancient galleys and featuring hundreds of extras (some of them actually rumoured to be killed or drowned during the chaotic shooting). This scene is quite impressive even today, when it is difficult to imagine that Hollywood can handle such spectacular content even with the help of CGI. Same can be, to a certain degree, said for chariot race, which included large number of extras, plenty of action, good stunt work, superb editing (and, sadly, large number of horses actually being deliberately killed), but that scene still looks inferior to 1959 version. But, like in the latter film, chariot scene in silent version ends too early in the film, and the audience has to watch rather uninspired reconstruction of the events from the New Testament. The only thing that old version might be slightly superior to the new is due to lack of censorship standards later imposed by MPAA Production Code. In silent Ben-Hur there are brief scenes of both male and female nudity.
1925 version of Ben-Hur, on the other hand, had really difficult and troubled production that took several years. Originally produced by Goldwyn Pictures, it was written by highly renowned screenwriter June Mathis, directed by Charles Brabin and had George Walsh, brother of famous director Raoul Walsh, in the title role. Shooting took place in Italy, but it was all but abandoned due to skyrocketing costs and Goldwyn being absorbed into Metro-Goldwyn-Meyer. New studio boss Irving Thalberg had Mathis and Brabin fired, main role recast by Mexican actor Roman Novarro and the famous chariot scene reshot at studios in Culver City, California. This resulted in budget of Ben-Hur rising to 4 million US$, which is a record that won’t be surpassed until the end of silent era. However, skilful direction of veteran Fred Niblo and clever promotional campaign, which included slogan “The Picture Every Christian Ought To See!” resulted with even more impressive box office results, although MGM had to wait for few years before actually covering all expenses. MGM nevertheless learned for the problematic production and in 1959 William Wyler, one of the young assistant directors, has put his experiences to a very good use in technically and artistically superior new version.
RATING: 6/10 (++)
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