Review: Ben-Hur (1959) · 7:58pm Nov 16th, 2015

In yet another example of a film that provides the bedrock of my cinematic life experience, Ben-Hur still stands as one of the most tremendous, grandiose and effective epics to come out of Hollywood, and also stands as a film with a remarkably moving story, and possibly the best religiously inclined film ever made.

Clocking in at 3 hours and 44 minutes, Ben-Hur moves at a stately, controlled pace, letting it's epic story of revenge and redemption play out organically and steadily. William Wyler directs the massive affair with control and precision, constructing truly epic action sequences (the iconic chariot race, a sprawling naval battle), while still having an eye for the smaller, more intimate details of human interaction. By this point, Wyler had long since honed his craft as a director, and rightly earned his third Best Director Oscar for it. The film, which could have easily stumbled over itself in it's sheer scope, never waivers, and Wyler makes sure the focus remains on Judah Ben-Hur and his tale, while also treating Jesus, who provides a recurrent, background motif and contrast to Judah, with the utmost of respect and honor.

Another aspect of the film that is remarkable is how, for a character who possibly shows up for a grand total of four scenes, and whose face is never seen, Jesus' influence is viscerally felt throughout the narrative. From the opening recreation of the nativity, to Jesus' simple act of kindness in giving an enslaved Judah Ben-Hur a drink of water, to the sermon on the mount (shown at a distance), to His final Passion and Crucifixion, Wyler makes sure that every appearance of Jesus has a real impact. here, we never see His face, which allows the audience the freedom to project our own version of His face onto Christ, thereby making Him the ultimate everyman. He never speaks, or makes a sound, but His actions speak thousands of words, as we see everyone's reaction to Him.

Charlton Heston delivers an excellent performance as Judah Ben-Hur, and the film could have easily faltered without his rock stolid strength and gravitas providing an emotional anchor for the film. Heston is very much a physical actor, preferring to express emotion through body movement then through facial expressions. Not to say he's completely stoned face, but rather, much of the underlying rage and anger that fuels Judah for most of the narrative can be seen in the tightly wound way Heston holds himself. He also is able to show the gradual softening and redemption of Judah as he allows his hatred to finally be let go upon seeing the death of Jesus, a true peak of the film, as Jesus' utter selflessness and ultimate forgiveness shows Judah the futility of hatred and spite.

Stephen Boyd turns in an iconic and complex performance as the venomous, hate driven Messala, a man so determined to destroy Judah's life that, while on his own death bed, refuses to die until he's fired one more hateful, destructive arrow of hate to his one time friend. Boyd provides contrast to Heston, as Boyd takes on a more expressive, fiery performance then Heston's restraint. In a way, it provides a physical embodiment to the hatred and lust for power that very nearly destroys Judah, and, in the end, completely destroys Messala.

Hugh Griffith, Finlay Currie and Jack Hawkins, both legendary character actors, turn in excellent performances as the loud and boisterous Shiek Ilderim, the gentle, almost monk like Balthasar, and the fatherly, stoic Quintus Arrius. All serving as mentors to Judah, each highlights a different aspect of wise advice. From Quintus' being the one to help free Judah from his galley slave status, and provide him a home, to Ilderim's friendly fostering of Judah's chariot racing skills (first honed under Quintus), and then Balthasar leading Judah to Christ, the three all deliver wonderful performance, each with quotable lines of their own, and firmly placing their stamp on the film.

Haya Harareet, who is as of 2015, the only surviving cast major member, provides an excellent, strong performance as the beautiful Esther, object of Judah's affections. She really doesn't get to show her skills until the second half of the film, where Judah returns to Jerusalem in search of his long lost mother and sister (Martha Scott and Cathy O'Donnell). Refusing to let Judah be consumed by hate, Esther continually works towards restoring Judah, working with Balthasar to lead him to Christ. The best aspect of all this is that, in the end, Judah makes the choice to allow Christ in his life and let go of his hate entirely on his own, giving the moment true impact and significance.

Miklós Rózsa's score, which is so far the longest ever written for a film, is an absolute icon of cinematic music. Rolling and thundering yet being able to have gentler, more intimate moments, it's possibly his absolute best. Surging with emotion, power and epic scope, it provides a beautiful musical counterpoint to the imagery, complimenting and providing a bedrock on which to build the emotional structure.

So, suffice to say, I love, love, LOVE this movie. Not only as a bedrock of my childhood, but also as a true artistic masterpiece.

5 out of 5 stars.