1 Year, 100 Movies: #100 Ben-Hur (1959)

by Trey Hock on June 14, 2010

in 1 Year, 100 Movies,Columns

For 1 Year, 100 Movies, contributor/filmmaker Trey Hock will watch all of AFI’s 100 Years, 100 Movies list (compiled in 2007) in one year. His reactions to each film will be recorded here twice a week until the year (and list) is up!

ben-hur 1959 poster

So, “Ben Hur.”

First off, I would like to say that a beginning overture and an entr’acte or intermission are the best and should be used in any film over two and a half hours. I think it’s sad we don’t see them anymore. By listening to the music, the overture not only gives you a moment to find your seat and enjoy some popcorn, but helps you get into the right mindset for the movie you’re about to watch. The intermission gives the viewer a physical and emotional break. We have time to visit the restroom, grab a beverage, or just take a deep breath. Both of these are sad casualties of the modern theatrical film market.

Okay, now that I’ve got that off my chest:

I know that most of the attention that this film gets is that is big, it’s epic, and it has an awesome chariot race. Well, that’s all true. The scale of this film is incredible. The story moves from Judea to Rome, and follows Judah Ben-Hur (Charlton Heston), a Jew who lived during the time of Jesus. This film has remarkable sets and was filmed at a time long before you could build them in your computer. In the chariot race, when someone is shown being dragged behind their chariot, it is probably an actual person. It is definitely not a computer-generated double.

Though every thing about this movie was larger than life, what I found really compelling were the scenes that were smaller in scale. Scenes between only two characters. Scenes such as the scene early on when Judah welcomes back his old friend Messala, now the newly appointed tribune of Rome. This scene between two people establishes an old and dear friendship, the way the two are still some similar and how they have grown apart. It also points to their developing conflict, which is the main conflict in the story.

charlton heston ben-hur 1959There are also a number of these scenes that involve Judah and Esther and establish or build on the love story. Part of the reason why these scenes work and are believable is that they are allowed time to breath and play out. Most of the scenes maybe small in scale, but each is long in actual length of time. This means we can see Judah as he struggles with Messala’s militance and desire to stomp out rebellion, and we can see that Judah is torn by Esther’s engagement to a man in Antioch. By giving the scene and character the time to develop, the viewer is not shocked when Judah tells Messala that he is against him and his plans, or when Judah positions himself for a not-so-goodbye kiss from Esther.

It would be easy to cut these scenes down in order to get a cut of Ben-Hur that is two hours and forty-five minutes, instead of its three and a half hours, but it would utterly destroy the film. This film is really long and really great, and that’s the way it has to be.

ben-hur chariot raceJesus is in this movie, but he’s here in a really compelling way. Not with the heavy-handedness that a modern focus group or megachurch would most likely insist upon, but with a subtlety and gestural grace that is remarkable. We don’t see Jesus cast as a wizard performing miracles here and there. What we do see is a character that comes in at specific times throughout the story, and we watch as the other characters react to him, and are changed.

There is a little Deus ex Machina going on with some of the emotional transitions that occur when Jesus is around, but when you put God in your movie, that’s probably gonna happen. Still, most of the scenes are so distinct from the rest that they are weighty and powerful.

We have a number of different ethnic groups in this film, and though Jew may not be played by Jew, or Arab by Arab, each of the characters is strong, proud, and veers sharply away from bald stereotype. For a film from 1959, it needs few excuses made for it.

I really only have one thing to say about the chariot race. George Lucas, if you’re going to ripoff er I mean pay homage to this chariot race in “Episode 1,” then please do it right. You have the blueprint right here, and there is none of the unnecessary teeth gnashing, annoying announcers, or fart humor of your tragic representation. Done. Now watch the “Ben-Hur” chariot race and be blown away with awesomeness.

This is not a film to start after 7 or 8 pm, but make sure you get a viewing in at some point.

1 Year, 100 Movies: An Introduction

In addition to contributing to Scene-Stealers, Trey makes short films and teaches at the Kansas City Art Institute. Follow him here:

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{ 6 comments… read them below or add one }

1 Xavier June 14, 2010 at 5:25 am

I completely agree with you about the overture, interval etc, I remember watching Lawrence of Arabia and thinking the exact same thing, why does this not happen anymore. Not only is it a great way for the composers to flex their muscles a bit more, but the interval is often needed in the cinema.

Reply

2 Xavier June 14, 2010 at 5:25 am

I completely agree with you about the overture, interval etc, I remember watching Lawrence of Arabia and thinking the exact same thing, why does this not happen anymore. Not only is it a great way for the composers to flex their muscles a bit more, but the interval is often needed in the cinema.

Reply

3 Xavier June 14, 2010 at 5:25 am

I completely agree with you about the overture, interval etc, I remember watching Lawrence of Arabia and thinking the exact same thing, why does this not happen anymore. Not only is it a great way for the composers to flex their muscles a bit more, but the interval is often needed in the cinema.

Reply

4 Trey June 14, 2010 at 5:29 am

Xavier,

I’m glad I’m not alone on the overture and intermission. I think that any movie over two and a half hours could have an overture and at least a short intermission about the hour and a half point. The intermission also helps the viewer digest and process the first half of the film.

Reply

5 Trey June 14, 2010 at 5:29 am

Xavier,

I’m glad I’m not alone on the overture and intermission. I think that any movie over two and a half hours could have an overture and at least a short intermission about the hour and a half point. The intermission also helps the viewer digest and process the first half of the film.

Reply

6 Trey June 14, 2010 at 5:29 am

Xavier,

I’m glad I’m not alone on the overture and intermission. I think that any movie over two and a half hours could have an overture and at least a short intermission about the hour and a half point. The intermission also helps the viewer digest and process the first half of the film.

Reply

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