I went into Ben-Hur with the lowest possible expectations. Critics and audiences alike seemed to disdain the film, and its opening box office was truly abysmal. I was worried that somehow this box office and critical disaster would taint my love for the 1959 version.
As sometimes happens, however, the film actually exceeded all of my expectations. While it does not hit the same notes of operatic grandness achieved by its predecessors (including, it is worth noting, the 1925 version, which seems to have been largely forgotten in the discourse surrounding this one), it is nevertheless a competent and at times quite moving film.
The film basically follows the same trajectory as the previous versions, as Judah Ben-Hur (Jack Huston) and his boyhood friend and adopted brother Messala (Toby Kebbell) find themselves pulled apart by the historical times in which they live, in which the power of Rome continues to oppress the people of Judaea. Their own personal rivalry–which culminates in the famous chariot race–takes place at the same time as the ministry of Christ (Rodrigo Santoro) whose sacrifice and Crucifixion lead to the eventual reconciliation of Judah and Messala.
Though he lacks the larger-than-life monumentality that Heston brought to his interpretation of the role, the young Jack Huston brings something else equally valuable. He manages to bring both a measure of vulnerability and sensitivity to the role, neither of which are traits that Heston could ever have claimed to embody. For that reason, I actually found Huston’s lack of star power refreshing, in that it allowed me to put aside my preconceptions of what Judah should look like and instead appreciate what this relatively unknown star (who nevertheless hails from an illustrious Hollywood lineage) was able to bring to the role.
Indeed, I thought there was a great deal of chemistry between him and his fellow lead Toby Kebell. The latter brings a powerful, brooding energy to the character of Messala, a young man overshadowed by a tainted family legacy and his own desire to prove himself worthy of being a Roman. It’s hard not to find him compelling, in much the same way as it was difficult to not find oneself attracted to Stephen Boyd (who played the role in the 1959 version). However, I do think that Kebbell brings a softer, more vulnerable–and thus, ultimately, more redeemable–characterization to the role.
Of course, Morgan Freeman also deserves credit for the gravitas that he brings to the role of Sheik Ilderim. Whereas his earlier counterpart had been a rather egregious example of blackface, Freeman imbues his character with a powerful, brooding solemnity. We learn, for example, that his son had also been a zealous enemy of Rome, a position that earned him an ignominious and horrific death at the hands of the Roman state. One cannot help but feel the resonance with the ways in which black bodies are still rendered subject (and abject) to the violence of the state.
Of course, the two of the most affective and intense scenes were the scene in the galley and the chariot race. Both allowed for a feeling immersion, of being there and inhabiting two very different moments. While the galley sequence (as such sequences frequently do) forces us to inhabit a claustrophobic world of the abject, the chariot race represents a reclamation of embodied agency. In fact, I actually think the scene in the galleys is more terrifying and visceral than the 1959 version, in no small part because so many of the shots are from Judah’s hampered point of view. The race, for its part, is quite as stirring as the original, and seeing it on the big screen was absolutely a part of the phenomenologically powerful experience.
It’s a tad unfortunate that the Crucifixion scene–which should, one would think, land with the greatest possible emotional impact–comes off as so stilted and emotionless. Santoro, bless him, just doesn’t bring a great deal to the role of Christ. Not that this is entirely his fault; the script doesn’t really allow him to do anything other than utter a few incredibly flat-footed platitudes. In this instance, it seems that the practice of the earlier films, which resolutely kept Christ out of the frame, proved to be the better move.
That aside, I do think that the latter half of the film holds together much more effectively than the first. Part of this, I think, has to do with the gratuitous number of cuts throughout the first half of the film. One would think that the opposite would be the case; after all, these early scenes are designed to establish the personal level of the drama. Unfortunately, however, Bekmambetov is a bit too fond of the cut, and it becomes distracting more than it should be.
Despite the choppy and often gratuitous editing of those early scenes, however, the film does succeed in showing how much Messala and Judah care for one another, a crucial bit of backstory that we don’t really see in the 1959 version (though Gore Vidal’s juicy gossip suggests that his script had a homoerotic undercurrent). As a result, we get to know and care about these characters and their relationship. And you know what? That final reconnection between Messala and Judah actually brought tears to my eyes. Because, despite everything else, it felt earned. These two actors bring enough emotional resonance to their roles that we actually care about what happens to them. At a broader level, it also provides hope that, even in this time of historical conflict, that somehow solidarity can and will win out of hatred.
Is Ben-Hur a perfect, or even a great film? Absolutely not, and there are a number of reasons for this. At the risk of continuing to compare the film to its predecessor, I do think it’s noteworthy that this reboot did not have a major directorial name attached to it. While Timur Bekmambetov is no stranger to Hollywood, he doesn’t have the same sort of resumé as or cultural capital as a director like William Wyler, who had already established himself as a formidable artist director of stature. Bekmambetov, for better and worse, does not have quite that amount of presence to help lift Ben-Hur to the heights of true greatness to which it might otherwise have aspired.
In the end, I strongly suspect that the 2016 iteration of Ben-Hur will go down in history as a well-intentioned but ultimately unsuccessful reimagining of a cinematic and literary classic. Still, I do hope that those who watch it take it on its own terms, for it really is quite a good film in its own way. And that, perhaps, is its greatest tragedy.