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Ben-Hur (1959 film)

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Template:Short description Template:Use American English Template:Good article Template:Use mdy dates Template:Infobox film Ben-Hur (/ˈbɛn:həː˧˧/) is a 1959 American religious epic film<ref name="AFIBenHur" /> directed by William Wyler, produced by Sam Zimbalist, and starring Charlton Heston as the title character. A remake of the 1925 silent film with a similar title, it was adapted from Lew Wallace's 1880 novel Ben-Hur: A Tale of the Christ. The screenplay is credited to Karl Tunberg, but includes contributions from Maxwell Anderson, S. N. Behrman, Gore Vidal, and Christopher Fry. The cast also features Stephen Boyd, Jack Hawkins, Haya Harareet, Hugh Griffith, Martha Scott, Cathy O'Donnell in her final film, and Sam Jaffe.

Ben-Hur had the largest budget ($15.175 million), as well as the largest sets built, of any film produced at the time. Costume designer Elizabeth Haffenden oversaw a staff of 100 wardrobe fabricators to make the costumes, and a workshop employing 200 artists and workmen provided the hundreds of friezes and statues needed in the film. Filming commenced on May 18, 1958, and wrapped on January 7, 1959, with shooting lasting for 12 to 14 hours a day and six days a week. Pre-production began in Italy at Cinecittà around October 1957, and post-production took six months. Under cinematographer Robert L. Surtees, executives at Metro-Goldwyn-Mayer made the decision to produce the film in a widescreen format. Over 200 camels and 2,500 horses were used in the shooting of the film, with some 10,000 extras. The sea battle was filmed using miniatures in a huge tank on the back lot at the Metro-Goldwyn-Mayer Studios in Culver City, California. The nine-minute chariot race has become one of cinema's most famous action sequences, and the score, composed and conducted by Miklós Rózsa, was at the time the longest ever composed for a film, and was highly influential on cinema for over 15 years.

Following a $14.7 million marketing effort, Ben-Hur premiered at Loew's State Theatre in New York City on November 18, 1959. It was the fastest-grossing as well as the highest-grossing film of 1959, becoming the second highest-grossing film in history at the time, after Gone with the Wind. It won a record eleven Academy Awards, including Best Picture, Best Director (Wyler), Best Actor in a Leading Role (Heston), Best Actor in a Supporting Role (Griffith), and Best Cinematography – Color (Surtees); it also won Golden Globe Awards for Best Motion Picture – Drama, Best Director, and Best Supporting Actor – Motion Picture for Stephen Boyd. In 1998, the American Film Institute named it the 72nd best American film and the second best American epic film in the AFI's 10 Top 10. In 2004, the National Film Preservation Board selected Ben-Hur for preservation by the National Film Registry of the Library of Congress for being "culturally, historically, or aesthetically significant".<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

PlotEdit

File:Photo A scene from Ben-Hur, a 1959 film directed by William Wyler 1959 - Touring Club Italiano 04 0850.jpg
A scene from the movie.

In AD 26Template:Efn Jerusalem, Judah Ben-Hur, a wealthy Jewish prince and merchant, lives with his mother, Miriam, and younger sister, Tirzah. The family's steward, Simonides, has a daughter named Esther. Judah grants Simonides' request for Esther to marry a freeman and grants Esther her freedom as a wedding gift. Apart since childhood, Judah and Esther quickly fall in love.

Judah's Roman childhood friend, Messala, returns to Jerusalem as commander of the Fortress Antonia. He fully embraces Rome's glory and imperial power while Judah remains devoted to his faith and the Jewish people's freedom. When Messala demands that Judah surrender potential rebels to Roman authorities, Judah refuses and cuts all ties.

The new Judean governor's procession enters the city. As Judah and Tirzah watch from the upper terrace, loose roof tiles fall, spooking the governor's horse and throwing him off. Messala realizes it was accidental but condemns Judah to the galleys and imprisons Miriam and Tirzah. Messala also arrests Simonides. While he and other prisoners are transported, they stop in Nazareth. Denied water, Judah collapses but is revived when a carpenter gives him a drink.

After three years in the galleys, Judah is assigned to Roman Consul Quintus Arrius' flagship. Arrius notices Judah's determination and self-discipline and offers to train him as a gladiator or charioteer, which Judah refuses. When Macedonian pirates attack the Roman fleet, Arrius orders that Judah be unchained. The ship's hull is rammed, flooding the galley. Judah frees the other rowers and then rescues Arrius, who was thrown overboard. After being rescued, Arrius learns the battle was won. He later petitions Emperor Tiberius to free Judah, and adopts him as his son. In Rome, Judah becomes a champion charioteer.

While returning to Judea, Judah meets Balthasar and Arab Sheik Ilderim. Seeing Judah's prowess as a charioteer, the sheik asks him to drive his four horses in a race before the new Judean governor, Pontius Pilate. Judah declines, despite knowing that Messala is competing. Balthasar tells Judah about a prophet he seeks who preaches love and forgiveness and urges Judah to cast off his consuming hate and vengeance.

Judah returns to Jerusalem to search for his mother and sister. At his abandoned house, he finds Esther, who never married, living with her debilitated father and also Malluch, a mute former prisoner. Messala tortured Simonides, who has protected Judah's fortune nonetheless. Presenting himself as Quintus Arrius' son, Judah confronts Messala and demands to know Miriam and Tirzah's fates. Messala orders their release from the dungeons. Both are now lepers and secretly expelled to the Valley of the Lepers. Before leaving the city, the women find and beg Esther to conceal their condition from Judah. Esther tells Judah they are dead to stop him searching.

Seeking revenge, Judah agrees to drive Sheik Ilderim's four horses against Messala in the chariot race. The sheik goads Messala into making an enormous wager on himself before revealing Judah is his driver. During the race, Messala drives a "beaked chariot", having cutters on the wheel hubs to disable competitors. He attempts to destroy Judah's chariot but wrecks his own instead. Dragged behind his horses, he is trampled by another chariot, while Judah wins the race. Before dying, Messala tells Judah his mother and sister are alive in the Valley of the Lepers.

At the leper colony, Judah encounters Esther and Malluch bringing supplies to Miriam and Tirzah. Esther persuades him to conceal himself as his family would wish. She then follows a crowd and Balthasar to hear what is possibly Jesus Christ's Sermon on the Mount.

Judah meets with Pontius Pilate, who fears Judah's victory will stoke rebellion against Roman rule. Judah rejects his patrimony and Roman citizenship. Returning to the leper colony, he reveals himself to Miriam and finds that Tirzah is dying. Judah and Esther take them to see Jesus Christ, but the trial of Jesus has begun. While carrying his cross through the streets, Jesus collapses. Judah recognizes him as the man who gave him water earlier and tries to give him water but a Roman soldier intervenes.

As Judah and Balthasar witness Jesus' crucifixion, Miriam and Tirzah are sheltered in a cave with Esther during a violent storm and are miraculously cured. Realizing that forgiveness is better than revenge, Judah returns to his house and finds them healed. Embracing, the four rejoice at the miracle.

CastEdit

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ProductionEdit

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File:Ben Hur22.jpg
Ben-Hur filming site near Lifta, intended to represent Jerusalem

Metro-Goldwyn-Mayer (MGM) originally announced a remake of the 1925 silent film Ben-Hur in December 1952, ostensibly as a way to spend its Italian assets.Template:Efn<ref name="Pryor">Template:Cite news</ref> Stewart Granger and Robert Taylor were reported to be in the running for the lead.<ref name="Pryor" /> Nine months later, MGM announced it would make the film in CinemaScope, with shooting beginning in 1954.<ref>Template:Cite news</ref> In November 1953, MGM announced it had assigned producer Sam Zimbalist to the picture and hired screenwriter Karl Tunberg to write it.<ref>Template:Cite news</ref> Sidney Franklin was scheduled to direct, with Marlon Brando intended for the lead.<ref>Template:Cite news</ref> In September 1955, Zimbalist, who continued to claim that Tunberg's script was complete, announced that a $7 million, six- to seven- month production would begin in April 1956 in either Israel or Egypt in MGM's new 65mm widescreen process, MGM Camera 65.<ref>Template:Cite news</ref> MGM, however, suspended production in early 1956, following Franklin's resignation.<ref>Template:Cite news</ref>

By the late 1950s, the consent decree of 1948 forcing film studios to divest themselves of theater chains<ref>United States v. Paramount Pictures, Inc., 334 US 131 (1948)</ref> and the competitive pressure of television had caused significant financial distress at MGM.<ref name="BlockWilson411">Block and Wilson, p. 411.</ref> In a gamble to save the studio, and inspired by the success of Paramount Pictures' 1956 Biblical epic The Ten Commandments,<ref name="BlockWilson411" /> studio head Joseph Vogel announced in 1957 that MGM would again move forward on a remake of Ben-Hur.<ref>Eagan, pp. 558–59.</ref> Filming started in May 1958 and wrapped in January 1959, and post-production took six months.<ref name="Eagan560" /> Although the budget for Ben-Hur was initially $7 million,<ref name="Eagen559"/> it was reported to be $10 million by February 1958,<ref name="HawkinsBustling" /> reaching $15.175 million by the time shooting began—making it the costliest film ever produced up to that time.<ref name="Solomon207" /> When adjusted for inflation, the budget of Ben Hur was approximately $Template:Formatprice in constant dollars.Template:Inflation-fn

One notable change in the film involved the opening titles. Concerned that a roaring Leo the Lion (the MGM mascot) would create the wrong mood for the sensitive and sacred nativity scene, Wyler received permission to replace the traditional logo with one in which Leo the Lion is quiet.<ref name="Schumach">Template:Cite news</ref>

DevelopmentEdit

Lew Wallace's 1880 novel, Ben-Hur: A Tale of the Christ, ran to about 550 pages. Zimbalist hired a number of screenwriters to cut the story down and turn the novel into a script. According to Gore Vidal, more than 12 versions of the script had been written by various writers by the spring of 1958.<ref name="Vidal73">Vidal, p. 73.</ref> Vidal himself had been asked to write a version of the script in 1957, refused, and been placed on suspension for his decision.<ref name="Vidal73" /> According to Vidal, Karl Tunberg was one of the last writers to work on the script. Other sources place Tunberg's initial involvement much earlier. Tunberg cut out everything in the book after the crucifixion of Jesus, omitted the sub-plot in which Ben-Hur fakes his death and raises a Jewish army to overthrow the Romans, and altered the manner in which the leperous women are healed.Template:Efn<ref name="Morsberger">Morsberger and Morsberger, p. 482.</ref> According to Wyler, Vidal, their biographers (see bibliography below) and the sources that follow them, Zimbalist was unhappy with Tunberg's script, considering it to be "pedestrian"<ref name="Morsberger" /> and "unshootable".<ref name="Kaplan440">Kaplan, p. 440.</ref>

The writing effort changed direction when director Sidney Franklin fell ill and was removed from the production. Zimbalist offered the project to William Wyler, who had been one of 30 assistant directors on the 1925 film,<ref name="Making24">Freiman, p. 24.</ref> in early 1957.<ref>Template:Cite news</ref> Wyler initially rejected it, considering the quality of the script to be "very primitive, elementary" and no better than hack work.<ref name="Herman394">Herman, p. 394.</ref> Zimbalist showed Wyler some preliminary storyboards for the chariot race and informed him that MGM would be willing to spend up to $10 million, and as a result, Wyler began to express an interest in the picture.<ref name="Herman395">Herman, p. 395.</ref> MGM permitted Wyler to start casting, and in April 1957, mainstream media outlets reported that Wyler was giving screen tests to Italian leading men, such as Cesare Danova.<ref>Template:Cite news</ref>

Wyler did not formally agree to direct the film until September 1957,<ref name="Herman395" /> and MGM did not announce his hiring until January 3, 1958.<ref>Template:Cite news</ref> Even though he still lacked a leading man, Wyler took the assignment for many reasons: He was promised a base salary of $350,000 as well as 8 percent of the gross box office (or 3 percent of the net profits, whichever was greater),<ref>Herman, p. 393.</ref> and he wanted to work in Rome again (in Hollywood on the Tiber, where he had filmed Roman Holiday).<ref name="BlockWilson411" /><ref name="Eagen559">Eagen, p. 559.</ref> His base salary was, at the time, the largest ever paid to a director for a single film.<ref name="BlockWilson411" /> Professional competitive reasons also played a role in his decision to direct, and Wyler later admitted that he wished to outdo Cecil B. DeMille,<ref name="Eagen559" /> and make a "thinking man's" Biblical epic.<ref>Eldridge, p. 15.</ref> In later years, William Wyler would joke that it took a Jew to make a good film about Christ.<ref name="Herman400"/>

WritingEdit

File:Gore Vidal (c. 1976-1983).jpg
Gore Vidal

Wyler felt Tunberg's draft was too much of a morality play overlaid with current Western political overtones, and that the dialogue was too modern-sounding.<ref name="Madsen342">Madsen, p. 342.</ref> Zimbalist brought in playwright S. N. Behrman (who also wrote the script for Quo Vadis) and then playwright Maxwell Anderson to write drafts.<ref name="Eagen559" /> Gore Vidal biographer Fred Kaplan states that British poet and playwright Christopher Fry was hired simultaneously with Vidal, although most sources (including Vidal himself) state that Vidal followed Anderson, and that Fry did not come aboard until Vidal was close to leaving the picture.<ref name="Kaplan442" /> Vidal arrived in Rome in early March 1958 to meet with Wyler.<ref name="Vidal73" />Template:Efn Vidal claimed that Wyler had not read the script, and that when he did so (at Vidal's urging) on his flight from the U.S. to Italy, he was upset with the modernist dialogue.<ref name="Vidal73" /><ref name="Herman396" /> Vidal agreed to work on the script for three months so that he would come off suspension and fulfill his contract with MGM,<ref name="Eagen559" /><ref name="Vidal73" /> although Zimbalist pushed him to stay throughout the entire production.<ref name="Kaplan442">Kaplan, p. 442.</ref> Vidal was researching a book on the 4th century Roman emperor Julian and knew a great deal about ancient Rome.<ref name="Kaplan441">Kaplan, p. 441.</ref> That book was eventually published in 1964 under the title Julian.<ref>Template:Cite news</ref><ref>Template:Cite book</ref>

Vidal's working style was to finish a scene and review it with Zimbalist. Once Vidal and Zimbalist had come to agreement, the scene would be passed to Wyler.<ref name="Kaplan442" /> Vidal said he kept the structure of the Tunberg/Behrman/Anderson script, but rewrote nearly all the dialogue.<ref name="Kaplan445">Kaplan, p. 445.</ref> Vidal admitted to William Morris in March 1959 that Fry rewrote as much as a third of the dialogue which Vidal had added to the first half of the script. Vidal made one structural change which was not revised, however. The Tunberg script had Ben-Hur and Messala reuniting and falling out in a single scene. Vidal broke the scene in two, so that the men first reunite at the Castle Antonia and then later argue and end their friendship at Ben-Hur's home. Vidal also added small character touches to the script, such as Messala's purchase of a brooch for Tirzah and Ben-Hur's purchase of a horse for Messala.<ref name="Kaplan445" /> Vidal claimed that he worked on the first half of the script (everything up to the chariot race), and scripted 10 versions of the scene where Ben-Hur confronts Messala and begs for his family's freedom.<ref name="Herman400">Herman, p. 400.</ref><ref name="Giddins247">Giddins, p. 247.</ref>

Vidal's claim about a homoerotic subtext is hotly debated. Vidal first made the claim in an interview in the 1995 documentary film The Celluloid Closet, and asserted that he persuaded Wyler to direct Stephen Boyd to play the role as if he were a spurned homosexual lover.<ref>Joshel, Malamud, and McGuire, pp. 37–38.</ref> Vidal said that he believed that Messala's vindictiveness could only be motivated by the feeling of rejection that a lover would feel, and claimed to have suggested to Wyler that Stephen Boyd should play the role that way, and that Heston be kept in the dark about the Messala character's motivations.<ref name="Herman400" /> Whether Vidal wrote the scene in question or had the acting conversation with Wyler, and whether Wyler shot what Vidal wrote, remain issues of debate.<ref name="Morsberger" /><ref name="Herman400" /><ref name="VidalAdvocate">Template:Cite magazine</ref> Wyler himself said that he did not remember any conversation about this part of the script or Boyd's acting with Gore Vidal,<ref name="Herman400" /> and that he discarded Vidal's draft in favor of Fry's.<ref name="Eagen559" /> Morgan Hudgens, publicity director for the film, however, wrote to Vidal in late May 1958 about the crucial scene, and implied there was a homosexual context: "...  the big cornpone [the crew's nickname for Heston] really threw himself into your 'first meeting' scene yesterday. You should have seen those boys embrace!"<ref name="Kaplan444">Quoted in Kaplan, p. 444.</ref> Film critic F. X. Feeney, in a comparison of script drafts, concludes that Vidal made significant and extensive contributions to the script.<ref>Feeney, pp. 66–73.</ref>

The final writer on the film was Christopher Fry. Charlton Heston has claimed that Fry was Wyler's first choice as screenwriter, but that Zimbalist forced him to use Vidal.<ref name="Herman400" /> Whether Fry worked on the script before Vidal or not, sources agree that Fry arrived in Rome in early May 1958 and spent six days a week on the set, writing and rewriting lines of dialogue as well as entire scenes, until the picture was finished.<ref name="Herman401">Herman, p. 401.</ref> In particular, Fry gave the dialogue a slightly more formal and archaic tone without making it sound stilted and medieval.<ref name="Herman401" /> A highly publicized bitter dispute later broke out over screenplay credits to the film, involving Wyler, Tunberg, Vidal, Fry and the Screen Writers' Guild.Template:Efn<ref name="CreditUrged">Template:Cite news</ref> In 1996, the Los Angeles Times published a brief letter from Charlton Heston taking issue with Vidal's version which, he wrote, "irritates the hell out of me".<ref name="Counterpunch">Template:Cite news</ref> Three months later, the paper published a 1,200 word response from Vidal, which included the statement that, with regard to the controversial scene's subtext, he had been delegated to inform Boyd (who was "delighted"), but that Wyler had warned "don't tell Chuck because he'll fall apart".<ref name="Counterpunch" />

The final script ran to 230 pages.<ref name="Hudgins" /> The screenplay differed more from the original novel than did the 1925 silent film version. Some changes made the film's storyline more dramatic. The role of Esther was greatly expanded from that of the novel to provide a strong onscreen love interest throughout the film. Other changes included incorporating an admiration for the Jewish culture and people (historical and modern), as well as representing the more pluralistic society of 1950s America rather than the "Christian superiority" view of Wallace's novel (though the movie retained a strongly positive religious portrayal of Early Christianity).<ref>Hezser, pp. 136–38.</ref>

CastingEdit

MGM opened a casting office in Rome in mid-1957 to select the 50,000 people who would act in minor roles and as extras in the film,<ref name="Making25">Freiman, p. 25.</ref> and a total of 365 actors had speaking parts in the film, although only 45 of them were considered "principal" performers.<ref name="HawkinsAnswer" /> In casting, Wyler placed heavy emphasis on characterization rather than looks or acting history.<ref name="Parish">Parish, Mank, and Picchiarini, p. 27.</ref> He typically cast the Romans with British actors and the Jews with American actors to help underscore the divide between the two groups.<ref name="Solomon207">Solomon, p. 207.</ref><ref>Magill, p. 150.</ref> The Romans were the aristocrats in the film, and Wyler believed that American audiences would interpret British accents as patrician.<ref name="Herman402" />

Several actors were offered the role of Judah Ben-Hur before it was accepted by Charlton Heston. Burt Lancaster stated he turned down the role because he found the script boring<ref>Template:Cite magazine</ref> and belittling to Christianity.Template:Efn Paul Newman turned it down because he said he didn't have the legs to wear a tunic.<ref name="ThomasRight">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Marlon Brando,<ref name="ThomasRight" /> Rock Hudson,Template:Efn Geoffrey Horne,Template:Efn and Leslie Nielsen<ref>Giddins, pp. 247–48.</ref> were also offered the role, as were a number of muscular, handsome Italian actors (many of whom did not speak English).<ref>Herman, p. 395–96.</ref> Kirk Douglas was interested in the role, but was turned down in favor of Heston,Template:Efn who was formally cast on January 22, 1958.<ref name="PryorHeston">Template:Cite news</ref> His salary was $250,000 for 30 weeks, a prorated salary for any time over 30 weeks, and travel expenses for his family.<ref name="Herman396">Herman, p. 396.</ref>

Stephen Boyd was cast as the antagonist, Messala, on April 13, 1958.<ref>Template:Cite news</ref> William Wyler originally wanted Heston for the role, but sought another actor after he moved Heston into the role of Judah Ben-Hur.<ref>McAlister, p. 324, n. 59.</ref> Because both Boyd and Heston had blue eyes, Wyler had Boyd outfitted with brown contact lenses as a way of contrasting the two men.<ref>Template:Cite magazine</ref> Marie Ney was originally cast as Miriam, but was fired after two days of work because she could not cry on cue.<ref name="Herman402"/><ref name="PryorFrenke">Template:Cite news</ref> Heston says that he was the one who suggested that Wyler cast Martha Scott as Miriam, and she was hired on July 17, 1958.Template:Efn<ref>Heston, p. 196.</ref><ref>Template:Cite news</ref> Cathy O'Donnell was Wyler's sister-in-law, and although her career was in decline, Wyler cast her as Tirzah.<ref name="Parish" />

More than 30 actresses were considered for the role of Esther.<ref name="PryorIsraeli">Pryor, Thomas M. "Israeli Actress Cast in 'Ben-Hur'." The New York Times. May 17, 1958.</ref> The Israeli actress Haya Harareet, a relative newcomer to film, was cast as Esther on May 16, 1958,<ref name="PryorIsraeli" /> after providing a 30-second silent screen test.<ref name="Pratt">Pratt, p. 135.</ref> Wyler had met her at the Cannes Film Festival, where she impressed him with her conversational skills and force of personality.<ref>Template:Cite magazine</ref> Sam Jaffe was cast as Simonides on April 3, 1958,<ref name="PryorSevenArts">Template:Cite news</ref> and Finlay Currie was cast as Balthasar on the same day.<ref name="PryorSevenArts" /> Wyler had to persuade Jack Hawkins to appear in the film, because Hawkins was unwilling to act in another epic motion picture so soon after The Bridge on the River Kwai.<ref name="Madsen342" /> Hugh Griffith, who gained acclaim in the post-World War II era in Ealing Studios comedies, was cast as the colorful Sheik Ilderim.<ref>Monush, p. 296.</ref> The role of Jesus, whose face is never seen, was played by an uncredited Claude Heater, an American opera singer performing with the Vienna State Opera in Rome when he was asked to do a screen test for the film.<ref>Template:Cite book</ref>

Myrna Hansen, who was crowned Miss USA in 1953, was considered for the role of a leper.<ref name="mh">Template:Cite magazine</ref>

CinematographyEdit

File:Chariot Race Ben-Hur.png
The chariot race scene, illustrating the extremely wide aspect ratio used (2.76:1)

Robert L. Surtees, who had already filmed several of the most successful epics of the 1950s, was hired as cinematographer for the film.<ref>Sultanik, p. 299.</ref> Early on in the film's production, Zimbalist and other MGM executives made the decision to film the picture in a widescreen format. Wyler strongly disliked the widescreen format, commenting that "Nothing is out of the picture, and you can't fill it. You either have a lot of empty space, or you have two people talking and a flock of others surrounding them who have nothing to do with the scene. Your eye just wanders out of curiosity."<ref name="Herman406">Herman, p. 406.</ref> The cameras were also quite large, heavy, and difficult and time-consuming to move.<ref name="Herman406" /> To overcome these difficulties, Surtees and Wyler collaborated on using the widescreen lenses, film stocks, and projection technologies to create highly detailed images for the film.<ref name="Hall145">Hall and Neale, p. 145.</ref> Wyler was best known for composition in depth, a visual technique in which people, props, and architecture are not merely composed horizontally but in depth of field as well. He also had a strong preference for long takes, during which his actors could move within this highly detailed space.<ref name="Hall145" />

The movie was filmed in a process known as "MGM Camera 65". 1957's Raintree County was the first MGM film to use the process.<ref name="Eldridge, p. 57">Eldridge, p. 57.</ref> The MGM Camera 65 used special 65 mm Eastmancolor film stock with a 2.76:1 aspect ratio.<ref name="Haines114">Haines, p. 114.</ref> 70 mm anamorphic camera lenses developed by the Mitchell Camera Company were manufactured to specifications submitted by MGM.<ref>Eyman, p. 351.</ref> These lenses squeezed the image down 1.25 times to fit on the image area of the film stock.<ref>Block and Wilson, p. 333.</ref> Because the film could be adapted to the requirements of individual theaters, movie houses did not need to install special, expensive 70 mm projection equipment.<ref>Hall and Neale, p. 153.</ref> Six of the 70 mm lenses, each worth $100,000, were shipped to Rome for use by the production.<ref name="Cyrino74">Cyrino, p. 74.</ref><ref name="Making31">Freiman, p. 31.</ref>Template:Efn

Principal photographyEdit

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Pre-production began at Cinecittà Studios around October 1957.<ref name="HawkinsBustling" /> The MGM Art Department produced more than 15,000 sketches and drawings of costumes, sets, props, and other items needed for the film (8,000 alone for the costumes); photostatted each item; and cross-referenced and catalogued them for use by the production design team and fabricators.<ref>Freiman, pp. 26, 30.</ref> More than a million props were ultimately manufactured.<ref name="Making27" /> Construction of miniatures for the entrance of Quintus Arrius into Rome and for the sea battle were underway by the end of November 1957.<ref name="AFIBenHur" /> MGM location scouts arrived in Rome to identify shooting locations in August 1957.<ref>Template:Cite news</ref> Location shooting in Africa was actively under consideration, and in mid-January 1958, MGM said that filming in North Africa (later revealed to be Libya) would begin on March 1, 1958, and that 200 camels and 2,500 horses had already been procured for the studio's use there.<ref name="PryorVaried">Template:Cite news</ref> The production was then scheduled to move to Rome on April 1, where Andrew Marton had been hired as second unit director and 72 horses were being trained for the chariot race sequence.<ref name="PryorVaried" /> However, the Libyan government canceled the production's film permit for religious reasons on March 11, 1958, just a week before filming was to have begun.Template:Efn<ref>Template:Cite news</ref><ref name="AFIBenHur" /> It is unclear whether any second unit filming took place in Israel. A June 8, 1958, report in The New York Times said second unit director Andrew Marton had roamed "up and down the countryside" filming footage.<ref name="SchifferIsrael">Template:Cite news</ref> However, the American Film Institute claims the filming permit was revoked in Israel for religious reasons as well (although when is not clear), and no footage from the planned location shooting near Jerusalem appeared in the film.<ref name="AFIBenHur" />

Principal photography began in Rome on May 18, 1958.<ref name="Race213" /> The script was still unfinished when cinematography began, so that Wyler had only read the first 10 to 12 pages of it.<ref>Kaplan, p. 444.</ref> Shooting lasted for 12 to 14 hours a day, six days a week. On Sundays, Wyler would meet with Fry and Zimbalist for story conferences. The pace of the film was so grueling that a doctor was brought onto the set to give a vitamin B complex injection to anyone who requested it (shots which Wyler and his family later suspected may have contained amphetamines).<ref name="Herman403">Herman, p. 403.</ref> To speed things up, Wyler often kept principal actors on stand-by, in full costume and make-up, so that he could shoot pick-up scenes if the first unit slowed down. Actresses Martha Scott and Cathy O'Donnell spent almost the entire month of November 1958 in full leprosy make-up and costumes so that Wyler could shoot "leper scenes" when other shots did not go well.<ref name="Herman409" /> Wyler was unhappy with Heston's performances, feeling they did not make Judah Ben-Hur a plausible character, and Heston had to reshoot "I'm a Jew" 16 times.<ref name="Herman404">Herman, p. 404.</ref> Shooting took nine months, which included three months for the chariot race scene alone.<ref name="Solomon213">Solomon, p. 213.</ref> Principal photography ended on January 7, 1959, with filming of the crucifixion scene, which took four days to shoot.<ref name="Eagan560">Eagan, p. 560.</ref><ref name="Herman410" />

Production designEdit

Italy was MGM's top choice for hosting the production. However, a number of countries—including France, Mexico, Spain, and the United Kingdom—were also considered.<ref name="Making26">Freiman, p. 26.</ref> Cinecittà Studios, a very large motion picture production facility constructed in 1937 on the outskirts of Rome, was identified early on as the primary shooting location.<ref name="HawkinsBustling">Template:Cite news</ref> Zimbalist hired Wyler's long-term production supervisor, Henry Henigson, to oversee the film, and art directors William A. Horning and Edward Carfagno created the overall look of the film, relying on the more than five years of research which had already been completed for the production.<ref name="Freiman 29">Freiman, p. 29.</ref> A skeleton crew of studio technicians arrived in the summer of 1956 to begin preparing the Cinecittà soundstages and back lot.<ref name="Making26" />

The Ben-Hur production utilized 300 sets scattered over Template:Convert and nine sound stages.<ref name="Cyrino73">Cyrino, p. 73.</ref> Several sets still standing from Quo Vadis in 1951 were refurbished and used for Ben-Hur.<ref name="Cyrino73" /> By the end of the production more than Template:Convert of plaster and Template:Convert of lumber were used.<ref name="HawkinsAnswer" /><ref>Eagan, pp. 559–60.</ref> The budget called for more than 100,000 costumes and 1,000 suits of armor to be made, for the hiring of 10,000 extras, and the procurement of hundreds of camels, donkeys, horses, and sheep.<ref name="Solomon207" /><ref name="Hudgins" /> Costume designer Elizabeth Haffenden oversaw a staff of 100 wardrobe fabricators who began manufacturing the costumes for the film a year before filming began. Special silk was imported from Thailand, the armor manufactured in West Germany, and the woolens made and embroidered in the United Kingdom and various countries of South America. Many leather goods were hand-tooled in the United Kingdom as well, while Italian shoemakers manufactured the boots and shoes. The lace for costumes came from France, while costume jewelry was purchased in Switzerland.<ref name="Making30">Freiman, p. 30.</ref> More than Template:Convert of hair were donated by women in the Piedmont region of Italy to make wigs and beards for the production,<ref name="Making7">Freiman, p. 7.</ref> and Template:Convert of track laid down for the camera dollies.<ref name="HawkinsAnswer" /> A workshop employing 200 artists and workmen provided the hundreds of friezes and statues needed.<ref name="Hudgins" /> The mountain village of Arcinazzo Romano,<ref name="Making7" /> Template:Convert from Rome, served as a stand-in for the town of Nazareth.<ref name="Herman401" /> Beaches near Anzio were also used,<ref name="Making27" /> and caves just south of the city served as the leper colony.<ref name="Herman409">Herman, p. 409.</ref> Some additional desert panoramas were shot in Arizona, and some close-up inserts taken at the MGM Studios, with the final images photographed on February 3, 1958.<ref name="Race213" />

  • Debbie Reynolds Auction - "Ben-Hur" costumes (1959) (5851596043).jpg

    Costumes used in Ben-Hur from the 2011 Debbie Reynolds auctions

  • Debbie Reynolds Auction - Charlton Heston and Jack Hawkins high sandal boots from "Ben-Hur" (1959) (5851596277) (2).jpg

    Charlton Heston and Jack Hawkins's caliga sandal-boots

  • Model Roman Ship from the movie Ben Hur.jpg

    One of the miniature Roman galleys used in Ben-Hur in 1959

The sea battle was one of the first sequences created for the film,<ref name="Dunning253">Dunning, p. 253.</ref> filmed using miniatures in a huge tank on the back lot at the MGM Studios in Culver City, California, in November and December 1957.<ref name="PryorHeston" /><ref name="Cyrino73" /> More than 40 miniature ships<ref name="Making27" /> and two Template:Convert long Roman galleys, each of them seaworthy, were built for the live-action segment.<ref name="Hudgins" /> The ships were constructed based on plans found in Italian museums for actual ancient Roman galleys.<ref name="Freiman 29"/> An artificial lake with equipment capable of generating sea-sized waves was built at the Cinecittà studios to accommodate the galleys.<ref name="HawkinsAnswer" /> A massive backdrop, Template:Convert wide by Template:Convert high, was painted and erected to hide the city and hills in the background.<ref name="HawkinsAnswer" /> To make the scene bloodier, Dunning sought out Italian extras who had missing limbs, then had the makeup crews rig them with fake bone and blood to make it appear as if they had lost a hand or leg during the battle.<ref name="Dunning253" /> When Dunning edited his own footage later, he made sure that these men were not on screen for so long that audiences would be upset.<ref name="Dunning253" />Template:Efn The above-decks footage was integrated with the miniature work using process shots and traveling mattes.<ref>Brosnan, p. 28.</ref>

One of the most lavish sets was the villa of Quintus Arrius, which included 45 working fountains and Template:Convert of pipes.<ref name="Freiman 29"/> Wealthy citizens and nobles of Rome, who wanted to portray their ancient selves, acted as extras in the villa scenes.<ref name="Making25" /><ref name="Cyrino73" /> To recreate the ancient city streets of Jerusalem, a vast set covering Template:Convert was built,<ref name="BlockWilson411" /> which included a Template:Convert high Jaffa Gate.<ref name="Cyrino73" /> The sets were so vast and visually exciting that they became a tourist attraction, and various film stars visited during production.<ref name="BlockWilson411" /><ref>Raymond, p. 31.</ref> The huge sets could be seen from the outskirts of Rome, and MGM estimated that more than 5,000 people were given tours of the sets.<ref name="HawkinsAnswer">Template:Cite news</ref>

Dismantling the sets cost $125,000.<ref name="HawkinsAnswer" /> Almost all the filmmaking equipment was turned over to the Italian government, which sold and exported it.<ref name="HawkinsAnswer" /> MGM turned title to the artificial lake over to Cinecittà.<ref name="HawkinsAnswer" /> MGM retained control over the costumes and the artificial lake background, which went back to the United States.<ref name="HawkinsAnswer" /> The chariots were also returned to the U.S., where they were used as promotional props.<ref name="HawkinsAnswer" /> The life-size galleys and pirate ships were dismantled to prevent them from being used by competing studios.<ref name="HawkinsAnswer" /> Some of the horses were adopted by the men who trained them, while others were sold.<ref name="HawkinsAnswer" /> Many of the camels, donkeys, and other exotic animals were sold to circuses and zoos in Europe.<ref name="HawkinsAnswer" />

EditingEdit

A total of Template:Convert of footage was shot for the film.<ref name="Race213">Template:Cite news</ref> According to editor John D. Dunning, the first cut of the film was four and a half hours long.<ref name="Dunning253" />Template:Efn William Wyler stated that his goal was to bring the running time down to three and a half hours.<ref name="PryorExtras" /> The most difficult editing decisions, according to Dunning, came during scenes that involved Jesus Christ, as these contained almost no dialogue and most of the footage was purely reaction shots by actors.<ref>Dunning, pp. 253–54.</ref> Dunning also believed that in the final cut the leper scene was too long and needed trimming. Editing was also complicated by the 70mm footage being printed. Because no editing equipment (such as the Moviola) existed which could handle the 70mm print, the 70mm footage would be reduced to 35mm and then cut. This caused much of the image to be lost.<ref>Dunning, p. 255.</ref> When the film was edited into its final form, it ran 213 minutes and included just Template:Convert of film.<ref name="Race213" />

Musical scoreEdit

The film score was composed and conducted by Miklós Rózsa, who had scored Quo Vadis and most of MGM's historical films of the 1950s.<ref name="Herman411">Herman, p. 411.</ref> Rózsa researched Greek and Roman music, incorporating this work into his score for authenticity. Rózsa himself directed the 100-piece MGM Symphony Orchestra during the 12 recording sessions (which stretched over 72 hours). The soundtrack was recorded in six-channel stereo.<ref name="Making30" /> More than three hours of music were composed for the film,<ref name="SoundTrack">Template:Cite magazine</ref> and two-and-a-half hours of it were finally used, making it at the time the longest score ever composed for a motion picture. It was finally surpassed in 2021 by the near 4-hour long score of Zack Snyder's Justice League.<ref name="Winkler329">Winkler, p. 329.</ref>

Rózsa won his third Academy Award for his score. Like most film musical soundtracks, it was issued as an album for the public to enjoy as a distinct piece of music. The score was so lengthy that it had to be released in 1959 on three LP records, although a one-LP version with Carlo Savina conducting the Symphony Orchestra of Rome was also issued. In addition, to provide a more "listenable" album, Rózsa arranged his score into a "Ben-Hur Suite", which was released on Lion Records (an MGM subsidiary that issued low-priced records) in 1959.<ref name="SoundTrack" /><ref>Template:Cite magazine</ref> This made the Ben-Hur film musical score the first to be released not only in its entirety but also as a separate album.<ref name="Winkler329"/>

The Ben-Hur score has been considered the best of Rózsa's career.<ref>MacDonald, p. 1966.</ref> The musical soundtrack to Ben-Hur remained deeply influential into the mid-1970s, when film music composed by John Williams for films such as Jaws, Star Wars, and Raiders of the Lost Ark became more popular among composers and film-goers.<ref>Winkler, pp. 329–30.</ref> Rózsa's score has since seen several notable re-releases, including by the Nuremberg Symphony Orchestra on Capitol Records in 1967, several of the tracks by the United Kingdom's National Philharmonic Orchestra and Chorus on Decca Records in 1977 and a Sony Music reissue as a two-CD set in 1991.<ref name="LinerNotes">Template:Cite magazine</ref> In 2012, Film Score Monthly WaterTower Music issued a limited edition five-CD set of music from the film. A two-CD set was released by Tadlow Music in 2017 of the complete motion picture score by The City of Prague Philharmonic Orchestra and Chorus.

Animal welfareEdit

In contrast to the 1925 film, during the making of which at least one hundred horses were reported to have died,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> director William Wyler brought in Yakima Canutt to ensure the safety of the animals.<ref name="polo">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> No horse was injured while shooting the chariot race sequence.<ref name="polo" />

Chariot race sequenceEdit

File:Ben-Hur wreckage.jpg
Chariot wreckage in Ben-Hur

The chariot race in Ben-Hur was directed by Andrew Marton and Yakima Canutt,<ref>Wyler, p. 216.</ref> filmmakers who often acted as second unit directors on other people's films. Each man had an assistant director, who shot additional footage.<ref>Dunning, p. 252</ref> Among these was Sergio Leone,<ref>Solomon, p. 15.</ref> who was senior assistant director in the second unit and responsible for retakes.<ref>Frayling, p. 97.</ref> William Wyler shot the "pageantry" sequence that occurs before the race, scenes of the jubilant crowd, and the victory scenes after the race concludes.<ref>Dunning, p. 251.</ref> The "pageantry" sequence before the race begins is a shot-by-shot remake of the same sequence from the 1925 silent film version.<ref name="Brownlow413">Brownlow, p. 413.</ref> Knowing that the chariot race would be primarily composed of close-up and medium shots, Wyler added the parade in formation (even though it was not historically accurate) to impress the audience with the grandeur of the arena.<ref name="Herman402">Herman, p. 402.</ref>

Set designEdit

The chariot arena was modelled on a historic circus in Jerusalem.<ref name="Cyrino73" /> Covering Template:Convert, it was the largest film set ever built at that time.<ref name="Couglan">Template:Cite magazine</ref> Constructed at a cost of $1 million, it took a thousand workmen more than a year to carve the oval out of a rock quarry.<ref name="Freiman 29"/><ref name="Cyrino73" /> The racetrack featured Template:Convert long straights and five-story-high grandstands.<ref name="Cyrino73" /> Over Template:Convert of metal tubing were used to erect the grandstands.<ref name="HawkinsAnswer" /> Matte paintings created the illusion of upper stories of the grandstands and the background mountains.<ref name="Solomon210">Solomon, p. 210.</ref> More than Template:Convert of sand were brought in from beaches on the Mediterranean to cover the track.<ref>Pomerance, p. 9.</ref> Other elements of the circus were also historically accurate. Imperial Roman racecourses featured a raised Template:Convert high spina (the center section), metae (columnar goalposts at each end of the spina), dolphin-shaped lap counters, and carceres (the columned building in the rear which housed the cells where horses waited prior to the race).<ref name="Solomon210" /><ref name="Herman398">Herman, p. 398.</ref> The four statues atop the spina were Template:Convert high.<ref name="Hudgins" >Template:Cite news</ref> A chariot track identical in size was constructed next to the set and used to train the horses and lay out camera shots.<ref name="Herman398" />

PreparationEdit

File:Lipizzaner DSC02450.jpg
Lipizzan horses, like this one in Vienna, were used for chariot teams in Ben-Hur.

Planning for the chariot race took nearly a year to complete.<ref name="Cyrino73" /> Seventy-eight horses were bought and imported from Yugoslavia and Sicily in November 1957, exercised into peak physical condition, and trained by Hollywood animal handler Glenn Randall to pull the quadriga (a Roman Empire chariot drawn by four horses abreast).<ref name="Making27">Freiman, p. 27.</ref><ref name="Cyrino73" /> Andalusian horses played Ben-Hur's Arabians, while the others in the chariot race were primarily Lipizzans.<ref>Solomon, pp. 207, 210.</ref> A veterinarian, a harness maker, and 20 stable boys were employed to care for the horses and ensure they were outfitted for racing each day.<ref name="Making27" /> The firm of Danesi Brothers<ref name="Making28">Freiman, p. 28.</ref> built 18 chariots,<ref>Template:Cite magazine</ref> nine of which were used for practice,<ref name="Making28" /> each weighing Template:Convert.<ref name="Solomon207" /> Principal cast members, stand-ins, and stunt people made 100 practice laps of the arena in preparation for shooting.<ref name="Solomon213" />

Heston and Boyd both had to learn how to drive a chariot. Heston, an experienced horseman, took daily three-hour lessons in chariot driving after he arrived in Rome and picked up the skill quickly.Template:Efn<ref name="Herman401" /><ref name="Solomon129">Solomon, p. 129.</ref> Heston was outfitted with special contact lenses to prevent the grit kicked up during the race from injuring his eyes.<ref name="Solomon129" /> For the other charioteers, six actors with extensive experience with horses were flown in from Hollywood, including Giuseppe Tosi, who had once been a bodyguard for Victor Emmanuel III of Italy.<ref name="Making25" />

FilmingEdit

The chariot scene took five weeks (spread over three months) to film at a total cost of $1 million<ref name="Herman405"/> and required more than Template:Convert of racing to complete.<ref name="Couglan" /> Marton and Yakima Canutt filmed the entire chariot sequence with stunt doubles in long shot, edited the footage together, and showed the footage to Zimbalist, Wyler, and Heston to show them what the race should look like and to indicate where close-up shots with Heston and Boyd should go.<ref name="Herman405">Herman, p. 405</ref> Seven thousand extras were hired to cheer in the stands.<ref name="BlockWilson411" /><ref name="Couglan" />Template:Efn<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Economic conditions in Italy were poor at the time, and as shooting for the chariot scene wound down, only 1,500 extras were needed on any given day. On June 6, 1958, more than 3,000 people seeking work were turned away. The crowd rioted, throwing stones and assaulting the set's gates until police arrived and dispersed them.<ref>Template:Cite news</ref><ref>Template:Cite news</ref> Dynamite charges were used to show the chariot wheels and axles splintering from the effects of Messala's barbed-wheel attacks.<ref name="Solomon210" /> Three lifelike dummies were placed at key points in the race to give the appearance of men being run over by chariots.<ref name="Didinger157">Didinger, p. 157</ref>

The cameras used during the chariot race also presented problems. The 70mm lenses had a minimum focusing distance of Template:Convert, and the camera was mounted on a small Italian-made car so the camera crew could keep in front of the chariots. The horses, however, accelerated down the Template:Convert straight much faster than the car could, and the long focal length left Marton and Canutt with too little time to get their shots. The production company purchased a more powerful American car, but the horses were still too fast, and even with a head start, the filmmakers only had a few more seconds of shot time. As filming progressed, vast amounts of footage were shot for this sequence. The ratio of footage shot to footage used was 263:1, one of the highest ratios ever for a film.<ref name="Didinger157" />

One of the most notable moments in the race came from a near-fatal accident when stunt man Joe Canutt, Yakima Canutt's son, was tossed into the air by accident; he incurred a minor chin injury.<ref name="Raymond32" /> Marton wanted to keep the shot, but Zimbalist felt the footage was unusable. Marton conceived the idea of showing that Ben-Hur was able to land on and cling to the front of his chariot, then scramble back into the quadriga while the horses kept going.<ref name="Herman407">Herman, p. 407</ref> The long shot of Canutt's accident was cut together with a close-up of Heston climbing back aboard, resulting in one of the race's most memorable moments.<ref>Canutt and Drake, pp. 16–19.</ref> Boyd did all but two of his own stunts.<ref name="Eagan560" /> For the sequence where Messala is dragged beneath a chariot's horses and trampled, Boyd wore steel armor under his costume and acted out the close-up shot and the shot of him on his back, attempting to climb up into the horses' harness to escape injury. A dummy was used to obtain the trampling shot in this sequence.<ref name="Raymond32">Raymond, p. 32.</ref>

Several urban legends exist regarding the chariot sequence. One claims that a stuntman died during filming, which Nosher Powell claims in his autobiography,<ref>Powell, p.254.</ref> and another states that a red Ferrari can be seen during the chariot race. The book Movie Mistakes claims this is a myth.<ref>Sandys, p. 5.</ref> Heston, in a DVD commentary track for the film, mentions that a third urban legend claims that he wore a wristwatch during the chariot race, but points out that he wore leather bracers up to the elbow.<ref name="Nichols">Template:Cite news</ref>

ReleaseEdit

File:Persconferentie in het Carltonhotel door filmactrice Haya Harareet, Bestanddeelnr 911-6572.jpg
Haya Harareet promoting the film in Amsterdam in October 1960

A massive $14.7 million marketing effort helped promote Ben-Hur.<ref name="BlockWilson324"/> MGM established a special "Ben-Hur Research Department" which surveyed more than 2,000 high schools in 47 American cities to gauge teenage interest in the film.<ref name="Doherty">Doherty, p. 189.</ref> A high school study guide was also created and distributed.<ref name="Doherty" /> Sindlinger and Company was hired to conduct a nationwide survey to gauge the impact of the marketing campaign.<ref>Dowdy, p. 6.</ref> In 1959 and 1960, more than $20 million in candy; children's tricycles in the shape of chariots; gowns; hair barrettes; items of jewelry; men's ties; bottles of perfume; "Ben-Her" and "Ben-His" towels; toy armor, helmets, and swords; umbrellas; and hardback and paperback versions of the novel (tied to the film with cover art) were sold.<ref name="Solomon213" /><ref name="Herman411" />

Ben-Hur premiered at Loew's State Theatre in New York City on November 18, 1959. Present at the premiere were William Wyler, Charlton Heston, Stephen Boyd, Haya Harareet, Martha Scott, Ramon Novarro (who played Judah Ben-Hur in the 1925 silent film version), Spyros Skouras (president of the 20th Century Fox), Barney Balaban (president of Paramount Pictures), Jack L. Warner (president of Warner Bros.), Leonard Goldenson (president of the American Broadcasting Company), Moss Hart (playwright), Robert Kintner (an ABC Television executive), Sidney Kingsley (playwright), and Adolph Zukor (founder of Paramount Pictures).<ref>Template:Cite news</ref>

ReceptionEdit

Box officeEdit

During its initial release the film earned $33.6 million in North American theater rentals (the distributor's share of the box office), generating approximately $74.7 million in box office sales. It was number one at the monthly US box office for six months.<ref>Template:Cite magazine</ref> Outside of North America, it earned $32.5 million in rentals (about $72.2 million at the box office) for a worldwide total of $66.1 million in rental earnings, roughly equivalent to $146.9 million in box office receipts.<ref name="BlockWilson324">Block and Wilson, p. 324.</ref> It was the fastest-grossing film<ref name="BlockWilson411" /> as well as the highest-grossing film of 1959,<ref>Stempel, p. 23.</ref> in the process becoming the second-highest-grossing film of all-time (at that time) behind Gone with the Wind.<ref name="Thomas (1963)">Template:Cite news</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> It was the highest-grossing film in Japan at the time earning $2,722,000.<ref>Template:Cite magazine</ref> Ben-Hur saved MGM from financial disaster,<ref name="Malone23">Malone, p. 23.</ref> making a profit of $20,409,000 on its initial release,<ref name="Mannix">Template:Citation</ref> and another $10.1 million in profits when re-released in 1969.<ref name="BlockWilson411" /> By 1989, Ben-Hur had earned $90 million in worldwide theatrical rentals.<ref>Ross, pp. 278–79.</ref>

Critical receptionEdit

Ben-Hur received overwhelmingly positive reviews upon its release.<ref name="Macdonald">Wreszin and Macdonald, p. 13.</ref> Bosley Crowther, writing for The New York Times, called Ben-Hur "a remarkably intelligent and engrossing human drama".<ref name="Crowther">Template:Cite news</ref> While praising the acting and William Wyler's "close-to" direction, he also had high praise for the chariot race: "There has seldom been anything in movies to compare with this picture's chariot race. It is a stunning complex of mighty setting, thrilling action by horses and men, panoramic observation and overwhelming use of dramatic sound."<ref name="Crowther" /> Jack Gaver, writing for United Press International, also had praise for the acting, calling it full of "genuine warmth and fervor and finely acted intimate scenes".<ref>Template:Cite news</ref>

Philip K. Scheuer of the Los Angeles Times called it "magnificent, inspiring, awesome, enthralling, and all the other adjectives you have been reading about it".<ref name="Scheuer">Template:Cite news Template:Open access</ref> He also called the editing "generally expert" although at times abrupt.<ref name="Scheuer" /> Ronald Holloway, writing for Variety, called Ben-Hur "a majestic achievement, representing a superb blending of the motion picture arts by master craftsmen", and concluded that "Gone With the Wind, Metro's own champion all-time top grosser, will eventually have to take a back seat".<ref name="Holloway">Template:Cite news</ref> The chariot race "will probably be preserved in film archives as the finest example of the use of the motion picture camera to record an action sequence. The race, directed by Andrew Marton and Yakima Canutt, represents some 40 minutes Template:SicTemplate:Efn of the most hair-raising excitement that film audiences have ever witnessed."<ref name="Holloway" />

Crowther felt the film was too long.<ref name="Crowther" /> Scheuer, while generally praising the film, felt that its biggest fault was "overstatement", and that it hammered home at points long after they had been made. He singled out the galley rowing sequence, Jesus's journey to the place of crucifixion, and nearly all the sequences involving the lepers. He also lightly criticized Charlton Heston for being more physically than emotionally compelling.<ref name="Scheuer" /> John McCarten of The New Yorker was more critical of Heston, writing that he "speaks English as if he'd learned it from records".<ref>Template:Cite magazine</ref> Film critic Dwight Macdonald also was largely negative.<ref name="Macdonald"/> He found the film so uninvolving and lengthy that he "felt like a motorist trapped at a railroad crossing while a long freight train slowly trundles by".<ref>Wreszin and Macdonald, p. 16.</ref> British film critic John Pym, writing for Time Out, called the film a "four-hour Sunday school lesson".<ref>Pym, p. 91.</ref> Many French and American film critics who subscribed to the auteur theory saw the film as confirmation of their belief that William Wyler was "merely a commercial craftsman" rather than a serious artist.<ref name="Herman394" />

In December 1959, in her review for the London Sunday Times, the veteran British film critic Dilys Powell expressed many serious reservations but still lavished praise on the film:

<templatestyles src="Template:Blockquote/styles.css" />

It is the best chariot race in the world, and no mistake. By now everybody has said so, and ... [my] only hope is that admiration may have special force when it is extorted from somebody who dislikes chariot races, shrinks from Biblical fiction and detests films ... which include the Crucifixion ...

... of the parts of this long, opulent film with its colour, its bright, sharp images, its stunning spectacle and its size ... I cannot complain. I still find that the whole is alien from me ... ... Nevertheless, if we must have films of this kind this is the one to have. After all, the spectacular scenes remain: the sea-fight, the Triumph, a magnificent storm and, of course, the chariot race—a scene superbly shot, superbly edited, superb in every way. I have never seen anything of its sort to touch it for excitement.<ref>Template:Cite book</ref>{{#if:|{{#if:|}}

— {{#if:|, in }}Template:Comma separated entries

}}

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The review aggregator website Rotten Tomatoes reported that 85% of critics have given the film a positive review based on 54 reviews collected, with an average rating of 8.20/10. The critics consensus reads, "Uneven, but in terms of epic scope and grand spectacle, Ben-Hur still ranks among Hollywood's finest examples of pure entertainment."<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> On Metacritic, the film has a weighted average score of 90 out of 100 based on 9 critics, indicating "universal acclaim".<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

The Japanese filmmaker Akira Kurosawa cited this movie as one of his 100 favorite films.<ref name="farout">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

AccoladesEdit

32nd Academy Awards
  1. Best Picture – Sam Zimbalist (posthumous award)
  2. Best Director – William Wyler
  3. Best Actor in a Leading Role – Charlton Heston
  4. Best Actor in a Supporting Role – Hugh Griffith
  5. Best Art Direction-Set Decoration – Color – Edward C. Carfagno and William A. Horning (posthumous award) (art direction); Hugh Hunt (set decoration)
  6. Best Cinematography – Color – Robert L. Surtees
  7. Best Costume Design – Color – Elizabeth Haffenden
  8. Best Film Editing – John D. Dunning and Ralph E. Winters
  9. Best Sound Recording – Franklin Milton, MGM Studio Sound Department
  10. Best Music – Scoring of a Dramatic or Comedy Picture – Miklós Rózsa
  11. Best Special Effects – A. Arnold Gillespie, Robert MacDonald, and Milo Lory
17th Golden Globe Awards
  1. Best Motion Picture – Drama
  2. Best Director – William Wyler
  3. Best Supporting Actor – Motion Picture – Stephen Boyd

Ben-Hur was nominated for 12 Academy Awards and won an unprecedented 11. Template:As of, only Titanic in 1998 and The Lord of the Rings: The Return of the King in 2004 have matched the film's wins.<ref name="Oscars1960">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The only category that Ben-Hur did not win was for Best Adapted Screenplay (losing to Room at the Top), and most observers attributed this to the controversy over the writing credit.<ref name="Eagan560" /><ref name="Herman412">Herman, p. 412</ref> MGM and Panavision shared a special technical Oscar in March 1960 for developing the Camera 65 photographic process.<ref>Clark, p. 151.</ref>

Ben-Hur also won three Golden Globe Awards – Best Motion Picture – Drama, Best Director, Best Supporting Actor – Motion Picture for Stephen Boyd – and received a Special Achievement Award (which went to Andrew Marton for directing the chariot race sequence).<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Heston was nominated for a Golden Globe in the Best Performance by an Actor in a Motion Picture – Drama category, but did not win. The picture also won the BAFTA Award for Best Film,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> the New York Film Critics Circle Award for Best Film,<ref>Template:Cite news</ref> and the Directors Guild of America Award for Outstanding Directorial Achievement in a Motion Picture for William Wyler's masterful direction.<ref>Sennett, p. 289.</ref>

Ben-Hur also appears on several "best of" lists generated by the American Film Institute, an independent non-profit organization created by the National Endowment for the Arts in 1967. The "AFI 100 Years... series" were created by juries consisting of over 1,500 artists, scholars, critics, and historians, with movies selected based on the film's popularity over time, historical significance, and cultural impact. Ben-Hur appeared at #72 on the 100 Movies, #49 on the 100 Thrills, #21 on the Film Scores, #56 on the 100 Cheers and #2 on the AFI's 10 Top 10 Epic film lists. In 2004, the National Film Preservation Board selected Ben-Hur for preservation by the National Film Registry for being a "culturally, historically, or aesthetically significant" motion picture.<ref>Template:Cite news</ref> It was listed as number 491 on Empire's 500 Greatest films of all time.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

The film was included by the Vatican in a list of important films compiled in 1995, under the category of "Religion".<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

BroadcastEdit

The film's first telecast took place on Sunday, February 14, 1971.<ref name="Cowley">Cowley, p. ii.</ref> In what was a television first for a Hollywood film, it was broadcast over five hours (including commercials) during a single evening by CBS,<ref>The Alfred I. Du Pont-Columbia University Survey of Broadcast Journalism, p. 98; Segrave, p. 82.</ref>Template:Efn preempting all of that network's regular programming for that one evening. It was watched by 85.82 million people for a 37.1 average rating.<ref>Template:Cite magazine</ref> It was one of the highest-rated movies ever screened on television at the time (behind the broadcast premieres of The Birds and Bridge on the River Kwai).<ref>Kramer, p. 45.</ref><ref>Template:Cite magazine</ref><ref>Template:Cite magazine</ref>

Home mediaEdit

Ben-Hur has been released on home video on several occasions. A two-sided single disc widescreen release occurred in the United States on March 13, 2001.<ref name="Nichols" /> This release included several featurettes, including a commentary by Charlton Heston, a making-of documentary (made for a laserdisc release in 1993), screen tests, and a photo gallery.<ref name="Nichols" /> This edition was released soon thereafter as a two-disc set in other countries. The film saw another DVD release on September 13, 2005.<ref name="Kehr">Template:Cite news</ref> This four-disc edition included remastered images and audio, an additional commentary, two additional featurettes, and a complete version of the 1925 silent version of Ben-Hur.<ref name="Kehr" /> The film was also separated into two parts, with the first and second discs featuring the first and second halves respectively.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> A boxed "Deluxe Edition", issued in the U.S. in 2002, included postcard-sized reprints of lobby cards, postcard-sized black-and-white stills with machine-reproduced autographs of cast members, a matte-framed color image from the film with a 35mm film frame mounted below it, and a Template:Convert reproduction film poster.<ref>Template:Cite news</ref>

In 2011, Warner Home Video released a 50th anniversary edition on Blu-ray Disc and DVD, making it the first home release where the film is present on its original aspect ratio.<ref>Template:Cite news</ref> For this release, the film was completely restored frame by frame from an 8K scan of the original 65mm negative. The restoration cost $1 million, and was one of the highest resolution restorations ever made by Warner Bros.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> A new musical soundtrack-only option and six new featurettes (one of which was an hour long) were also included.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

AdaptationsEdit

|CitationClass=web }}</ref> • 32 pages in full color, plus covers • Published by Dell Publishing Co., Inc. • Designed and produced by Western Printing and Lithographing Co. • Copyright © 1959 by Loew's Incorporated • (cover painting by Sam Savitt • drawn by Russ Manning) [authorized movie tie-in]

  • Video game • Ben-Hur: Blood of Braves (January 2003) • PlayStation 2 • Developed and published by Microids • Chariot racing game<ref>{{#invoke:citation/CS1|citation

|CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

See alsoEdit

NotesEdit

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ReferencesEdit

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Further readingEdit

BibliographyEdit

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External linksEdit

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