I devoted one of my posts the other day to news of a limited-time revival of “Ben-Hur,” back on the big screen, courtesy of Fathom Entertainment. The film has been showing at select theaters across the country over the past four days, with today being the last. If you’re at all interested in seeing it in its new 4K restoration, search for theaters in your area by clicking on “get tickets” at https://www.fathomentertainment.com/releases/ben-hur-2026/. Screenings tonight will likely begin sometime between 6:00 and 7:00.
And let me tell you, the film looks great. Also, I don’t know that it’s ever sounded better. Miklós Rózsa’s fanfares and choruses soar, the clatter, thundering horse hoofs, and roar of the crowd during the chariot race thrill, and the earthquake following Jesus’ crucifixion terrifies.
Granted, the film is four hours long (presented with a brief intermission), but it is an absorbing story told on a grand scale. Why, then, was I the ONLY PERSON IN THE THEATER when I saw it last night? I mean, this was the most-decorated film of all-time, with a record-breaking 11 Academy Awards. It was also the highest grossing picture since “Gone with the Wind.” Everything about it is immaculately rendered (no pun intended).
Were people put off because it’s an old movie? By the length? By the religion? Because it was a work night? Here, the film was over by 9:50.
Most likely, they stayed away because it doesn’t have Ryan Gosling in a spaceship. Also, it’s less demanding to stay home and stream “content” as background to scrolling on the phone and texting friends.
If any of these is the case, I feel sorry for those people. But I am also concerned for the future of everything I hold dear. A large segment of the population, it seems, possibly a majority, lacks the curiosity and the attention spans of our parents and grandparents, who might have considered this a deeply satisfying, even transformative night out.
Concerning the religion, “Ben-Hur” is a peculiar movie. On the surface, it has a Christian outlook (Lew Wallace’s book bears the subtitle “A Tale of the Christ”), but the hero, blue-eyed Charlton Heston as the Judean prince Judah Ben-Hur, is proudly Jewish. Of course, the conflict in the film is more political than religious. Ethnic distinctions are drawn mainly along the lines of those in occupied lands who bristle under their Roman conquerors. There’s one scene wherein the Romans make a sneering remark about a proposed chariot race with Judah. “A Jew?” one remarks, incredulously (sponsored by an Arab, no less). But the Romans, in general, are a proud, supercilious lot.
The other day, I mentioned an alleged gay subtext (according to Gore Vidal) in the establishing scene between Judah and his childhood friend, Messala (played by Stephen Boyd), which does exude a certain, unusually ardent quality, though things very quickly go south as the men’s allegiances drive a wedge between them. However, given that Judah’s later relationship with the Roman general Arrius (played by Jack Hawkins) deepens into an equally unguarded affection, it would be easy to chalk it up to simple phileō. This was, after all, the ancient world.
That said, if there’s a more homoerotic mainstream American movie, I can’t think of it. There are half-naked, well-oiled men everywhere. They stop just short of snapping each other with their towels. And if it’s an historical or Biblical epic, you can bet Heston will be standing around in a loin cloth for at least some of it. It must have been in his contract.
The film is adapted from a bestselling novel by Civil War general Lew Wallace, the most-read American novel in the period between “Uncle Tom’s Cabin” and “Gone with the Wind.” Wallace claimed not to be particularly religious at the time he took up his pen, but on completion of the manuscript, he found he had become a believer.
The story is really a mash-up of “The Count of Monte Cristo” and a Jesus movie. Jesus pops in every once in a while, always viewed from the back of the head, as Rózsa’s score strikes a mystic tone. But the film is not really about Jesus, or rather it isn’t JUST about Jesus, as much as it is about getting in touch with your own humanity and embracing your better angels. Yes, the ideals advocated by Jesus point the way, but Judah himself, as a good and thoughtful person, grapples with the complexity and corrupting nature of the impulse to revenge. Heston delivers a nuanced performance, a career best, that conveys much of his character’s conflict and evolution through his thoughts, facial expressions, and physical bearing, as much of it is not explicit in the dialogue, though certainly supported by the compassionate exchanges in Judah’s encounters with Jesus.
Interestingly, Judah recognizes the extraordinary in these silent encounters, but he remains a Jew to the end (as opposed to converting to Christianity). Throughout the film he touches his mezuzah reverently, even tenderly, when entering his house. When his family’s fortunes plummet, still he adjusts the scroll and carefully tends to this symbol of his identity and faith. At a point, he covers his head and prays for forgiveness for his desire to seek vengeance. Whether or not he embraces Christianity beyond the action of the movie is unclear, but I think not. Nevertheless, he is transformed.
In a way, Jesus is an external symbol of Judah’s inner goodness. Or perhaps, putting it another way, Jesus becomes a catalyst for Judah’s self-awareness. A Roman early in the film remarks that Jesus teaches that God exists inside every one of us. (“It’s quite profound, actually,” he adds, with a far-away look.) Whether or not you are a “religious” person, whether you are Jewish or Christian, the film should still work for you. It’s interesting that, for such an earnest, at times histrionic presentation, it manages to satisfy when viewed from multiple perspectives.
Judah’s journey leads him through physical trials and into the emotional abyss. But he does believe in a higher power. He makes it clear several times throughout the film, most especially when he tells Arrius he cannot believe that God would keep him alive in the galleys for three years only to have him drowned at the bottom of the sea.
It’s an inspiring movie, not least of all for all the craftsmanship that went into it. The starfield in the film’s prologue, as the Three Magi travel to Bethlehem to pay homage at the manger, is magical. The kings, captured in profile, are like a Rembrandt brought to life. The stable scene is touchingly reverent, but the chance cavorting of a rambunctious calf saves it from stiffening into sanctimonious kitsch. And then the credits! My god, Miklós Rózsa’s music!
There were no computers back then, remember, so everything you see was made by hand. The sets, the expert matte paintings, the costumes on the cast of thousands. Those nine chariots racing around the arena with their teams of frothing horses are real. Stuntmen risked life and limb, and Heston and Boyd can be seen in some of the shots actually maneuvering their rigs. I know it’s a hackneyed phrase, but they really don’t make ‘em like this anymore!
I should add, the film is not for ironists. It is absolutely in earnest from beginning to end, but as I suggest, it’s open to a range of interpretations. It is the visual equivalent of reading a book. It feels like a literary experience. Whether or not it reflects Wallace’s original in that regard, I cannot say. I have yet to read it, but I’ll get around to it one of these days. For now, and as has been the case for decades, I hold the movie very close.
Heston, Boyd, Hawkins, Finlay Currie (as the king Balthasar), and Frank Thring (who plays Pilate as a consummate politician) have never been better. William Wyler (who was Jewish) was one of the most skilled Hollywood directors of all time. Google him and just look at his credits. He directed all kinds of pictures, from “Wuthering Heights” and “The Heiress” to “Roman Holiday” and “Funny Girl,” with very few of them being less than wholly satisfying. Several of them, including “The Best Years of Our Lives” and “The Big Country,” are among my all-time favorites.
You have one more chance to catch “Ben-Hur” on the big screen in its 4K restoration. I don’t care how good your system is at home. Watching it on your couch with distractions of the phone, the refrigerator, and easy access to a bathroom is not the same experience. Go, and prepare to be overwhelmed.
Is There Still an Audience for “Ben-Hur”?
by
31 responses
Comments
31 responses to “Is There Still an Audience for “Ben-Hur”?”
-
The four of us who went were mesmerized, and we’ve all seen it many times— but not like this! There is no pan- and-scan that can reduce the chariot race to a closeup of a horse’s nostril. Every character’s emotional nuance is captured brilliantly— and the sound and the music!
If at all possible, see it! Hear it!
-
There is, however, a miracle at the end.
-
Byron Adams Oh yes there is!
-
-
I’d go
mostly for the score, but I do love epics.
Went to see Gone with the Wind in a theater-
Jim Barclay Jr As good a reason to see it as any. Fathom will be showing “Gone with the Wind” October 10-14. I’ve caught that one on the big screen any number of the times. “Lawrence of Arabia” too. “El Cid” twice, and “Fall of the Roman Empire” once. “Ben-Hur,” that I can recall, never.
-
Classic Ross Amico The epic which had the most profound impact on me was David Lean’s “Doctor Zhivago” with the incomparable score by Maurice Jarre.
I saw it during its initial run.
It has an overture before the curtains open for the Opening credits!
It blew my mind in so many levels.
The cinematography, the score ( my first balalaika) but the incredible history. I went to a good high school, but the Russian Revolution was a one liner in my history books. Ditto life in China, India, and the entire African continent (except Egypt). We were so focused on European cultures and North American from the 1500s on that we were short changed on the larger part of the world until Doctors Zhivago opened my eyes. -
Jim Barclay Jr Another one I’ve been lucky to see on the big screen, and on TCM, of course, many times. You were lucky to see it on its original run. I don’t remember how much we were taught about the Russian Revolution when I was in high school. There was always a mad race at the end of the year to cover the 20th century. But I became interested in it around the time “Reds” was out and a great deal more so the more I got into the Soviet composers in my late teens. What a crazy, chilling history. I pray we hang on to some stability here.
-
-
-
Oh wow! I would love to go – but under the weather. “Row well #41 … and live..”
-
Pete Foltz I’m sorry you’re not feeling well. Get better!
-
-
I bought my son a Lego Roman Galley when he was young – and we used to hum that galley rhythm from the naval battle. ((You are welcome for the ear worm for the rest of the day..))
-
Pete Foltz “RAMMING SPEED!”
-
-
I think since the advent of streaming and Apple producing a movie ….putting it in a theater for a month…..and then putting it on their streaming service …..is killing the spectacle of the theater. Back in the 80’s it would take over a year for a movie to be put on vhs. Now….3 months …tops. I myself am part of the dwindling theater crew. I haven’t seen a movie in a theater since I believe 2018 when I saw Bohemian Rhapsody. Alas I would rather not have the experience that I had while in a theater watching return of the Jedi and a woman started laughing hysterically at the Ewoks “This is so stupid!!!” To hell with her. I’ll watch it within my own confines hence forth . Just me and my sleeping cats. People. People have kinda ruined the whole theater experience for me. At the end of the day Ross …..I think God blessed you being alone viewing such a magnificent film.
-
Jon Haag I was all alone in the back of the theater, with my contraband Wawa tuna hoagie (which I never would have attempted to smuggle in had I not checked the reserved seating chart first). All my pleasures at once!
-
-
I remember seeing Lawrence of Arabia in a packed house some years ago. That was before covid though. Since then, cinema in general has been dying, sadly.
On the flipside, I loved Project Hail Mary. One of the best science fiction movies I have seen in a long time imho. I am glad it is making bank at least.-
Brennan Morsette I haven’t seen it yet, but I can’t tell you how much my stepfather hated it. But he hates everything made today (as all good folk must).
-
-
An answer to the diminished attendance: the price. It would cost me at least $30 for my wife and I to see any film these days in the local theater. Add to that insane prices for popcorn and candy, along with prohibitions on bringing your own goodies (including in some places inspection of handbags) and you have plenty of reasons to stay at home.
-
Brian M Davis I wouldn’t gamble $30 on Ryan Gosling, but I would never balk at $30 for four hours of “Ben-Hur” for two. Of course, I was on my own last night. I put my dinner in the sleeve of my jacket, which I had draped over my arm. The multiplexes are way understaffed, and the kids at the door are just happy to be able to scan your QR code. They’re not going to frisk an edgy old man who just fought traffic up Route 1 to see “Ben-Hur.” But I understand what you’re saying. I have a membership at the local Princeton theater (not the theater where I saw “Ben-Hur”), so admission is much less expensive. Also, people actually fill most of the seats here, so I would never attempt to smuggle in dinner.
-
-
and long for the days when we were kids and went to the movies every weekend. I agree with your sad assessment of the state of movie going today but your post made me want to see this movie again.
-
You made me long for the days when we were kids and our biggest treat was going to the movies every weekend; how we looked forward to it. I’m glad to see you haven’t lost that excitement and appreciation.
-
Dolores Cascarino Like you, I used to look forward to the movies so much. Almost never now, but definitely for reissues like “Ben-Hur.”
-
-
This is my movie watching friend’s favorite movie, so when I learned it was running at a theater nearby, I let him know. He seemed interested, but was afraid that it would be mobbed on his planned day, Palm Sunday, so he stayed home. I couldn’t attend, myself. Sad to hear you were the only one at the theater. One of the great things about theatrical viewing is the shared experience with an enthusiastic audience. Happy to hear it looked great in large screen 4K presentation, and the music soared. I’m skeptical that it would sound today like it sounded in 1959, since then it had 5 screen speakers/channels while today almost all theaters have only 3 screen channels. You probably know movie soundtrack albums usually aren’t actually from the movie soundtracks. They consist of different arrangements, and differ technically, to achieve optimal home listening experiences.
-
Scott Marshall Oh yes, I am aware. It’s only comparatively recently (within the last couple of decades) that the mania for note-complete recordings of scores lifted from isolated tracks from the actual films has come into vogue, and they’re often in degraded condition. I agree, there’s no way the sound can replicate what viewers heard in 1959, nor can the image match what no doubt would have been breathtaking in whatever widescreen format M-G-M was employing at the time. But the film looked great in 4K and sounded even better. I’m sorry your friend stayed home for fear of the crowds. I’m sure there would have been plenty of seats. I’m sorry I didn’t pitch a Classic Ross Amico field trip for local readers. The only day I could see it was April 1. I would have gone back last night if my schedule had allowed it.
-
Classic Ross Amico Ben-Hur was filmed in “MGM Camera 65” which was later renamed Ultra Panavision 70. It is the widest single-film widescreen format ever used by Hollywood. I ssw it at a giant screen revival when I was a teen. The first three notes of the overture made me literally jump out of my seatMedia: https://www.facebook.com/photo.php?fbid=10240702985967645&set=p.10240702985967645&type=3
-
I hold my manhood cheap and think myself accurs’d I was not there!
-
-
-
Did they include the overture, intermission, entr’acte, and exit music? Did you feel his voice take the sword out of your hand?
-
Scott Marshall The overture and intermission music was there. I was puzzled that there was no exit music. It had me wondering if there had been any, as I could have sworn there was. Most powerful was the storm following the crucifixion, but every fanfare just about lifted you out of your seat.
-
Classic Ross Amico you are correct. Ben-Hur did not have exit music
-
-
-
I didn’t even know about this, man. Every time I check their classics series it says there’s nothing planned for the year. Suddenly I find out one of my favorites was on the big screen and I missed it.
-
Mike MacDee So sorry. It was only by chance that I learned about it myself. They ran a trailer for it before the Met Live in HD simulcast of “Tristan und Isolde” a couple of weeks ago. Later, I saw ads for it in my Facebook feed, no doubt tailored to my interests as determined by the FB algorithm. But I needed no nudging. Once I knew about it, I was as good as there.
-
Classic Ross Amico That’s how I was when I found out King Kong was gonna be in theaters. That was a blast seeing it on the big screen.
-
Mike MacDee It’s amazing just how beloved the original Kong still is. I spent the morning texting back and forth about it — and the various recordings of Max Steiner’s score — with a good friend of mine.
-
-
Tag Cloud
Aaron Copland (92) Beethoven (95) Composer (114) Film Music (123) Film Score (143) Film Scores (255) Halloween (94) John Williams (187) KWAX (229) Leonard Bernstein (101) Marlboro Music Festival (125) Movie Music (138) Opera (202) Philadelphia Orchestra (89) Picture Perfect (174) Princeton Symphony Orchestra (106) Radio (87) Ralph Vaughan Williams (85) Ross Amico (244) Roy's Tie-Dye Sci-Fi Corner (290) The Classical Network (101) The Lost Chord (268) Vaughan Williams (103) WPRB (396) WWFM (881)
Leave a Reply