The sheer scale of the picture, in the days before digitallyĬreated crowds and computerized process shots, is astounding. The pagan Roman villain, not the righteous Jewish hero.) At least if that element is there, it’s embodied by
(In his autobiography Heston reports thatĪlthough screenwriter Gore Vidal was let go after trying to imbueĪ homoerotic subtext into Judah and Messala’s relationship,īoyd’s performance in early scenes seems to reflect Vidal’s Roman officer named Messala (Stephen Boyd) turns to enmity over Judah Ben-Hur, a Jewish prince whose boyhood friendship with a Instead, Ben-Hur is a classic revenge epic leavened His hidden life, to his public ministry, to his passion andĭeath, we never see his face or hear his voice. Though Christ’s life is traced from his birth, to Than such productions as The Ten Commandments in partīecause the biblical subject itself is reverently left in theīackground and another more appropriate tale is the subject of
Hollywood’s third adaptation of General Lew Wallace’s novelįollowing two silent versions, Ben-Hur holds up better
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