Ben-Hur: Timur Bekmambetov

The following is an excerpt from my Church Newsletter review.

Having seen the film, I have come to the blasphemous conclusion that I liked Bekmambetov’s new version more than Wyler’s. There are several reasons; let’s begin with the most immediately apparent. Bekmambetov’s film condenses the sweeping story into a tight two hours and gives it an emotional immediacy noticeably lacking in Wyler’s version. In keeping with early Hollywood’s obsession with grand spectacle, Wyler’s film seems oddly detached from the story, pulling the camera back so the audience can soak in the expansive sets and legions of costumed extras. Much of the acting feels better suited for the stage than for the screen. But Bekmambetov keeps his camera close and intimate; there are relatively few long-distance shots of cities, battlefields, or chariot racing. Bekmembetov wants the audience to understand the emotions of its hero: his confusion during his betrayal; his fear during the naval battle—almost the entire sequence is filmed from inside Judah’s ship, giving us only occasional glances of the carnage through his tiny peephole; his terror during the chariot race. We don’t just witness the film, we experience it as Judah does.

But the other reason why I prefer the new Ben-Hur is how it handles the inclusion of Jesus Christ. Wyler’s Ben-Hur relegates Jesus to only two or three scenes; we never even see his face. The overall effect is that he was shoehorned in. But Jesus is a constant presence in Bekmembetov’s Ben-Hur. We see him in the streets of Jerusalem before and after Judah’s betrayal, preaching love and compassion as tools to fight Roman oppression. Roman officers and politicians discuss him with disgust and fear as a revolutionary force potentially more powerful than a full army of armed Zealots. We see Judas’ betrayal, Jesus’ arrest, and his crucifixion. And there are little touches that bespeak his presence: in one scene where Judah returns to Jerusalem to speak with his wife, we see people in the streets joyously carrying palm fronds. But most importantly, Jesus has a thematic purpose. His sacrifice seems to symbolize the reconciliation denied Judah and Messala—indeed, it is after he dies that the two brothers forgive each other. His death signals the beginning of a new life, both for the human race and Judah’s family. Unlike Wyler’s Ben-Hur, Jesus isn’t a supporting character: he’s the crux of the film.

7/10