Ben-Hur

While it is now largely neglected in favor of the more familiar 1959 remake, the 1925 silent version of "Ben-Hur" is quite entertaining, and it is often impressive in its own right. Fred Niblo had a lot of good resources for this film, and he used them well. Although Niblo made some other enjoyable films, this one has to be by far his best. As Ben-Hur and Messala, Ramon Novarro and Francis X. Bushman work pretty well as the rivals whose complex relationship drives so much of the action. At an hour shorter than the 1950's version, this one moves at a good pace while keeping most of the best material.

The story lends itself easily to a large-scale production. The characters, the historical settings, and the themes all offer many possibilities to film-makers. The screenplay for this version does a good job of focusing on the parts of the story that are interesting to watch while also developing the story's key relationships and themes. Like the later version, it makes some changes from the novel, but it still contains most of the same best-known scenes.

The large-scale set piece sequences from the story work very well here. The naval battle sequence actually seems more realistic here than it is in the color and sound version. The chariot race scene is approached a little differently than it is in Wyler's version, so that direct comparisons may not be possible, but in any case Niblo's version is very good. The action is tense and exciting, and it is also fun to try to pick out the silent screen stars who appear in the audience.

There are certainly a number of reasons for the enduring popularity of the Wyler/Charlton Heston version. Fortunately, there is no need to choose one over the other. This adaptation of "Ben-Hur" deserves to be remembered in its own right, as a successful, entertaining movie that also captures the important ideas of the story.

Nice silent rendition that still stands as the all-time silent classic , including marvelously staged battle ships and overwhelming chariot races . It packs impressive scenes that still look nice , in spite of age . Childhood friends , Judah Ben-Hur (Ramon Novarro) and Messala (Francis X Bushman) meet again one time grown-up . Now as experienced adults , this time Messala is a Roman officer , a tough conqueror against the Jews and Judah as a rich noble , though conquered , Israelite . When in Jerusalem takes place a Roman parade , spontaneously falling a brick that causes Judah to be sent off as a galley slave , his ownership confiscated and his mother and sister Tirzah (Kathleen Key) imprisoned at an impregnable jail . But the brave Ben Hur goes on his determination to stay alive and saves the Roman general Quinto Arrio when they are attacked by a pirate galleon , and he , then , becomes his fostered son . Several years later Judah goes backs his homeland . Unable to locate his mummy and sister, and believing them dead , he can think of nothing else than vendetta against Messala . Meanwhile , Ben Hur falls for Esther (May McAvoy) , daughter of Simonides (Nigel Of Brulier) .

The second movie of the acclaimed novel , being lavishly produced , stars Ramón Novarro and Francis X. Buxman as Messala . Novarro is good in the known role as wealthy Palestinan battling the Roman Empire . The chariot race required thousands of extras on sets constructed on lots of acres of backlot at Metro Goldwyn Mayer Studios . The MGM production costs were massive millions of dollars , as a lot of chariots were built , with half being used for practice . The race took various weeks to film . The known chariot scene was shot at what is now the intersection of La Cienega and Venice Boulevards in Los Angeles . Although problems lingered on the production and at a cost of over 4.000.000 dollars . The initial Italian set was eventually torn down and a new one built in Culver City , California . Attractive images , majestic set design , glamorous photography in black and white , evocative as well as rousing musical score subsequently added by the great composer Carl Davis combine to cast a spellbinding movie . The motion picture was stunningly realized by director Fred Niblo helped by Second-unit director B. Reeves Eason and Cliff Lyons ; being a hit smash at the box office . In 1931 , a shortened version was released . Rating : 8 , extraordinary and awesome , it ranked as the most expensive movie of its time and took years to end ; it is one of the greatest films in the genre "Epic". Ben-Hur still stands as the all-time silent classic .

Other retellings based on this vintage novel written by Lewis Wallace are the followings : The classic version ¨Ben-Hur¨ won a record 11 Ocars , directed by William Wyler with Charlton Heston , Stephen Boyd , Haya Harareet , Jack Hawkins , Sam Jaffe , Finlay Currie , Martha Scott , Cathy O'Donnell , in which stuntman Cliff Lyons worked a Stuntman/chariot driver in both versions : 1925 and 1959 ; cartoon version (2003) by Bill Kowalchuck with prologue by Charlton Heston and ¨Ben-Hur¨ TV series by Steven Shrill with Joseph Morgan , Stephen Campbell Moore , Kristen Krouk , Simon Andreu and Lucia Jimenez

Before my generation's "Ben Hur" there was my grandmother's "Ben Hur: a Tale of the Christ," a 1925 silent film directed by Fred Niblo and starring Ramon Novarro as Judah, Ben Hur, Francis X. Bushman (a favorite of my grandmother's) as Messala, and May McAvoy as Esther. The extras became more famous than many of the leads: Gary Cooper, Clark Gable, Carole Lombard, John Barrymore, Joan Crawford, Douglas Fairbanks, Marion Davies, Clarence Brown, Sidney Franklin, and others.

"Ben Hur" is famous for being the "Cleopatra" of its day - an expensive mess that MGM finally got control of by bringing everyone home from Italy and filming in Hollywood.

Putting aside the expense and the loss of both human and animal life, it's a spectacular film, all the more sensational for having been done in 1925. The emphasis here is on the spectacle and not the characters, making the 1959 version more superior in that regard.

There is no in-depth look at the friendship between Messala and Ben-Hur in the earlier film; it's hard to believe, from Bushman's portrayal, that the two were ever friends (also the actors were 16 years apart in age). What the earlier film has that the 1959 lacks is the religious aspect - Mary and Joseph seeking shelter, the birth of the Christ, and the three Wise Men. The religious scenes were filmed in two-strip Technicolor. Most of the film is black and white, with a few sections sepia-toned.

Ramon Novarro, who would come to such a sad end, was 26 years old at the time of the film. He makes a passionate Ben-Hur, with Bushman (who worked until the day he died in 1966) a one-dimensional Messala. Of course, some of the acting seems amateurish by today's standards, and the heavy makeup on Novarro later in the film and on Bushman throughout is off-putting, but these things don't detract from the film.

As lepers, Ben-Hur's mother and sister looked like their skin glowed in the dark, a very interesting effect. Jesus is shown only as a lit hand in many scenes, and his face is revealed.

The chariot race is mind-boggling, as is the destruction near the end of the movie. Yet the best parts of the film for me were the simple, poignant scenes of Ben-Hur's mother and sister, all done beautifully.

In these days of CGI and so much available to film technicians, "Ben Hur: A Tale of the Christ" is a must-see for how much the early filmmakers were able to accomplish. Truly one of the great epics.

Of all motion picture genres, the ancient world epic is the only one in which the silents were usually superior to their talking counterparts. With the emotional distance of a bygone age, the pompous dialogue, not to mention the focus on the spectacular, here, if ever there was one, is a type of story best told purely in images.

The 1925 Ben-Hur is probably the finest of all the 1920s epics. A lot of this is down to its (uncredited) producer, "boy-wonder" Irving Thalberg. Although there is very little consistency in the genres or kinds of story in Thalberg's productions, his hallmark seems to be that he was willing to push the boat out creatively. He never just plumped for the most commercial option, yet never lost sight of what was entertaining. Hence his pictures were almost always hits, but they were never mere instant-appeal audience-fodder. He refused to compromise on quality in any department, and in Ben-Hur the editing of Lloyd Nosler and the cinematography in particular deserve honourable mentions. Thalberg had taken over the project half-way through shooting, and it's exemplary of his belief in quality over easy profits that he recast virtually ever actor, changed the crew and scrapped the old footage, sending the budget skyrocketing but ending up with a finer finished product.

Among the replacement crew was director Fred Niblo. While there are a few other directors associated with this production, they shouldn't really be counted as most of their footage was ditched when Niblo was brought on board. And he is really perfectly suited to this material. His sense of movement and rhythm, especially in crowd scenes, is exceptional. A great example is in the leper cave, when Miriam and Tirzah exit away from camera, screen left, a leper crawls towards the water from screen right, echoing their movement. Niblo was also one of the best action directors of his era, as evidenced in the highly imaginative sequence of images in the sea battle. For the chariot race the emphasis is on speed, partly because Thalberg offered a $100 prize to the winner, but also because the camera rarely takes the position of a spectator, almost constantly moving with the chariots. The excitement is heightened because the camera cars occasionally move faster when behind a chariot or slower when in front of chariot, to give the effect of dollying in on the action.

Niblo was also capable of coaxing tenderness and poignancy out of the smaller scenes. He recognises that the lavish sets and masses of extras can't be a continuous backdrop, and has the sense to stage the most important interactions in front of plain backgrounds, focusing us entirely on the actors. He brings an emotional depth to many sequences – something almost impossible to achieve in this kind of picture –by holding performers in uninterrupted takes and simply allowing them to emote with subtle gestures and facial expressions. The scene in which Miriam and Tirzah find Judah asleep in the Hur palace is by far the most moving I have seen in any ancient-world epic, sound or silent. Luckily Thalberg was smart enough to keep those long takes in the picture, rather than having every second of footage not essential to the story cropped or broken up with superficial title cards. It may seem unusual to see these extended emotional sequences in a picture that doesn't spend much time on characterisation or verbal interaction, but it is a perfect use of silent cinema form nonetheless.

This Ben-Hur retains the subtitle of Lew Wallace's novel – "A Tale of the Christ", and the religious angle is more integral to the story here than in the 1959 version. In 1959 Jesus was only ever shown from behind, and this is sometimes hailed as a stroke of genius. However his appearance in 1925 is even more tentative, just a hand emerging from offscreen. Of course it is very much like Niblo to use close-ups of hands to define characters, just as it very much like William Wyler (director in 1959) to film actors from behind, but I believe both portrayals owe something to the 19th century stage production, in which the actor playing Jesus kept his back to the audience. In each case this was apparently done out of a religious sense of respect, but I feel the "hands-only" Jesus of 1925 is the most effective because it shows the Christ figure purely as a presence, continuously felt but always just out of sight.

Probably the only respect in which the 1959 Ben-Hur is superior to the 1925 version is in its characterisation. The later film is one of the few genuine character-driven epics, with a screenplay that delves into the depths of each relationship, going to lengths to show the different facets of each figure. By comparison the characters in 1925 are simplistic to the point of being crude. Francis X. Bushman's Messala is such an out-and-out villain it's hard for us to accept he was ever likable, whereas we can totally believe that Charlton Heston and Stephen Boyd were childhood friends. It's true that for the most part, the 1920s were still an age of one-dimensional pantomime figures, but the silent epics never tried to be deep or realistic, and any epic that tries to be will ultimately fail, even in the sound era. Instead these pictures thrive on their mood, their grace and their captivating imagery, and the realisation of this by Thalberg and Niblo make the silent Ben-Hur one of the best.

This much lesser-known version of the Ben-Hur story from 1925 was the most expensive silent film ever made and benefits greatly from MGM's ability at the time to make films that looked amazingly grand and epic and still somehow manage to today. Even after seeing William Wyler's 1959 version and even with the advancements of modern CGI, the 83 year old "Ben-Hur: A Tale of the Christ" still looks unbelievably impressive with its massive sets and thousands of extras.

The mythos that has surrounded "Ben-Hur: A Tale of the Christ" among film buffs over the years has reached a status almost as grand as the film itself. The deaths, bribes, and other stories surrounding the movie and in particular the famous chariot race sequence do nothing to detract from the film (although they do distract one from it) but instead increase one's fascination with the production. I'm not sure if there are any comprehensive books written on the film but I must seek one out eventually.

The story doesn't need to be discussed because everyone knows it. It's an entertaining story that's really quite hard to do wrong and this movie is more entertaining and exciting than any other version I've seen. The theatricality demanded from silent film enhances the nature and feel of the story.

This film was directed by Fred Niblo, famous for the Douglas Fairbanks vehicles "The Mark of Zorro" and the inferior "The Three Musketeers" and also director of several memorable silent films such as Greta Garbo vehicles "The Temptress" and "The Mysterious Lady" as well as "The Red Lily", an absolutely brilliant film by 1924 standards that is sadly hard to get a hold of (except on Turner Classic Movies which shows it on occasion). Niblo lost his way in the sound era but is on top form here directing this massive production. Of course, the chariot race deserves all its fame and recognition and remains exciting, vibrant, and captivating to this day.

The restoration on the DVD released in the four-DVD set released in celebration of the 1959 film is spectacular as usual from the Turner team with the original (and well-chosen) tints and the exceptional Technicolor sequences restored. The film is in the public domain so I expect there must be some form of cheap black & white only copy which I urge anybody reading this to avoid watching. Another reason to watch this restored version is the terrific score by Carl Davis performed by the London Philharmonic orchestra.

As good as William Wyler and Charlton Heston are, I'll take this Fred Niblo and Ramon Novarro over the 1959 version any day. A thrilling, captivating silent epic and one of the great silent American films.

9/10