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Ben-Hur 1925 |
Review by Jonathan Cornwell |
Directed by Fred Niblo
NR, 143 min. |
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Starring: Ramon Novarro, Francis X. Bushman, May McAvoy, Betty Bronson, Claire McDowell, Kathleen Key, Carmel Myers, Nigel De Brulier, Mitchell Lewis, Leo White, Frank Currier
Producers: J.J. Cohn, Charles B. Dillingham, Abraham L. Erlanger, Louis B. Mayer
Screenplay: June Mathis, Bess Meredyth, Carey Wilson
Cinematography: Clyde De Vinna, René Guissart, P. Hilburn
Distributor: MGM
Released: 12.30.25 |
Rating:
  (out of ) |
Ben-Hur was maybe the first true blockbuster in cinematic history. With a cost of around $4 million (almost $100 million today),
the film had to be a success, and it was. The newly merged Metro-Goldwyn-Mayer was elevated to major player after its
release in 1925 as audiences flocked to see what took years to make. A nice story combined with groundbreaking action
sequences, including a jaw-dropping sea battle and a now classic chariot race, make Ben-Hur one of the most popular films
of the silent era. Although not quite a masterpiece, director Fred Niblo - in the defining project of his career - was able
to create a spectacle of action and storytelling that held the viewer's attention for the film's entire running length.
Most current movie enthusiasts would point to Charlton Heston's 1959 re-make as the definitive Ben-Hur; however, from a
technical standpoint, the 1925 version is clearly superior. One could argue Heston's performance is better than Novarro's
(I would not), but the grand nature of the stunts and unparalled coordination during shoots at a time when nothing of its kind
had been attempted before gives this version a more authentic and powerful feel than the '59 effort. In fact, because most
audiences have never seen this version (probably because it's a silent film and not readily accessible), the film is one of the
more overlooked gems of the 1920s. There's something special about the look of this film - not only because it's black and
white picture provides a poignant foundation to build upon - that makes each character seem larger than life.
Judah Ben-Hur (Ramon Novarro) is a wealthy Jew whose mother (Claire McDowell) and sister (Kathleen Key) have been sent away
to rot in a prison while he becomes a slave to the Roman empire after false charges against his family. After saving a Roman fleet commander (Frank Currier) during a bloody
sea battle, he's is elevated to the hero of Rome and becomes a great chariot racer. But his quest to find his mother and
sister drive him to leave his position of power and begin his search. He eventually finds himself in Antioch, where he finally
confronts his nemesis Messala (Francis X. Bushman), the Roman soldier who betrayed his family, in a great chariot race.
Once avenged, he turns to help the newfound King of the Jews, Jesus Christ, conquer the Romans with two legions under his
command. However, once he encounters Christ, his heart is changed and he once again becomes a peaceful man when
Christ heals his mother and sister from leprosy.
The film is also entitled A Tale of the Christ, since parts of Jesus' life are interwoven into Ben-Hur's own story.
Christ's pivotal scenes in the film are shot in technicolor, a surely startling revelation in 1925, but we never see His face.
Instead, hands, arms, and printed words give us the impression of Christ's handiwork. The scenes shot in color are
well done, and they help to make these pictures stand out from the rest of the film.
The countless problems encountered during the film's production are legendary. Originally slated to be shot entirely in
Italy and nearby seas, the film quickly went over budget and the prints sent back to the U.S. were unusable. After
catastrophic incidents, including the deaths of extras during the filming of the sea battle, the
studio quickly moved the entire production back to California, where Novarro was given the lead role and Niblo took over
the director's chair. The result was a riveting picture that proved to Hollywood that big budget films could be very profitable.
The performances in the film are top-notch. Novarro's sturdy frame and good looks, coupled with dark, mysterious eyes,
gives him a depth to Ben-Hur that makes the need for words unnecessary - it's obvious what his every thought is throughout
every scene. In fact, his performance was so loved that he replaced Rudolph Valentino as the screen's greatest idol shortly
after its release. Bushman's character oozes sinister and evil underpinnings, making his effort surprising considering his roles
in previous films were heroes and leading men.
Had the Academy Awards existed in 1926, Ben-Hur would have surely garnered several Oscars, since the 1959 version racked
up eleven Oscars in 1960. There would have been great competition from another sensational film, The Big Parade,
but due to its epic nature Ben-Hur probably would have won Best Picture. I would rate The Big Parade slighty higher than
Ben-Hur overall due to its captivating war sequences, but it's very close. Grandiose and mesmerizing, Ben-Hur is a film worth seeking out.
© 2002 Jonathan Cornwell
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 | Masterpiece - Film perfection |
| Excellent - A Must See |
| Good - Highly Recommended |
| Fair - Worth seeing |
| Average - Viewable, but not recommended |
| Below average - View at own risk |
| Poor - Avoid at all costs |
| Very poor - An embarassment to the film industry |
| Zero | Awful - One of the worst films ever made |
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