Aubrey MaloneBen-Hur (PG)
‘What shall it profit a man if he gain the world and suffer the loss of his soul?’ That’s the message of this third version of a film that won a record 11 Oscars in 1959. Or, put another way, ‘Render to Caesar the things that are Caesar’s and to God the things that are God’s.’
It was Charlton Heston’s finest hour, playing the title role of the wealthy Jew whose family adopts a boy, Messala, who goes from being his Ben-Hur’s best friend in childhood to a Roman soldier who gives him up to slavery after accusing him of complicity in a murder bid on Caesar.
It begins as a tale of revenge – “It was hate that kept me going”, Ben-Hur (Jack Huston) says of his five years as a galley slave – but this changes to love after the chariot race when he questions the value of what he’s achieved in a world that has seen Roman rule triumph and his mother and sister become lepers .
The crucifixion of Jesus (Rodrigo Santoro), who is introduced almost casually – in marked contrast to his reverential presence in previous films – appears as a kind of epilogue but his message of loving one’s enemies (his opening line) acts as its cornerstone.
Traditionalists may baulk at this casualness. In a sense it marks Jesus out as ‘just’ another cast member. In 1959 his face wasn’t even shown, giving him a more overtly divine charism.
The film is astounding for its two key dramatic scenes, the sea battle and the chariot race. In contrast to these is the quiet presence of Jesus who acts as the catalyst for Ben-Hur’s cathartic reformation.
The focus of the film has changed from the emotions of Messala on his deathbed in the 1959 version to a new message of reconciliation. Sadly, hate sells better than love in films and perhaps that’s one reason this re-make has drawn some negative reviews. If I were directing it I would have made Messala’s change of heart more gradual. One minute he’s wielding a dagger at Ben-Hur and a few seconds later he’s embracing him. Ben-Hur’s own conversion is more credible because it’s accelerated by the crucifixion.
Impressive
But this is still a highly impressive piece of work. Trimmed down by 90 minutes from the 1959 version, director Timur Bekmambetov fast-tracks everything to keep the pace from flagging. This was a good idea even if it compromises the film’s epic status.
Morgan Freeman is the only member of the cast I recognised. He plays Ilderim, Ben-Hur’s liberator and mentor as the countdown to the chariot race begins. This is a thoroughly exciting sequence but of course it has the benefit of a technology not available to William Wyler, the film’s director in 1959 director.
The sets and costumes are excellent and the religious dimension doesn’t insinuate itself over the main action, which has the effect of making it even more resounding.
Very Good ****