The Moving picture world (January 1926-February 1926)

rough the Box-0(Pice ^ndow SjS'Viewers' Views On feature ^LLms Sdited btj CS. Sewell "Ben-Hur"— M-G-M Screen's Greatest Spectacular Achievement; Ramon Novarro Is Superb in Title Role IN THE field in which the motion picture is undoubtedly supreme, the realm of the gigantic spectacle, the MetroGoldwyn-Mayer production of General Lew Wallace's immortal story "Ben Hur" stands as the screen's crowning achievement, and to back it up is a story rich in drama and action and having in generous measure practically every element of audience appeal. In the forty-five years since its publication and twenty-two years as a stage production it has brought enjoyment to countless thousands in every country for in both forms it was a huge success. There is hardly anyone who does not know of "Ben Hur" as a story of the days of Christ or associate with it the idea of a tremendously thrilling chariot race. It is safe to say that there is scarcely a man or woman or child who will not look forward to seeing tffis picture, and it will live up to and probably exceed their expectations. The story opens with the events surrounding the birth of Christ. Then follows the years of his childhood spent in comparative obscurity during which there was growing up in Jerusalem a prince of the Jewish house of Hur, known as Ben-Hur. His friendship with the Roman centurion Messala turns to enmity when Messala reveals his Roman egotism and hatred of the Jews and to curry favor with the governor arrests not only Ben-Hur, when a loose tile accidentally falls from the coping killing the general, but also takes into custody his mother and sister. Sentenced as a galley slave and driven across the desert, parched with thirst he meets Christ who gives him water and refreshes his spirit. For three years he toils at 'the galleys. His thoughts of revenge against Messala and Rome buoy him up and he attracts the attention of the commander of the fleet, Arrius, whose life he saves when 'the ships are attacked by pirates. Arrius adopts him as his son sharing his wealth, and he becomes the idol of the people as a charioteer but never ceases to look for 'his mother and sister. Hearing that Simonides a trusted servant is in Antioch he journeys thither and again meets Simonides' daughter Esther with whom he had fallen in love. Learning that Messala will 'compete in the chariot race he seizes the opportunity to satisfy his revenge, defeats him, stripping him of his wealth which he bet on the race. Urged by Esther, Simonides recognizes Ben-Hur turning over to 'him great riches, and acknowledging himself and his daughter to be Ben Hur's slaves. Ben Hur again hears of Christ whom the Jews looked forward 'to as their deliverer from the Roman yoke, and using his wealth recruited two legions of soldiers. Hastening back to Jerusalem, his mother and sister, now lepers, see him but do not reveal their 'presence. Christ is taken before Pilate and sentenced Reviewed by C. S. Sewell CAST: Ben-Hur Ramon Novarro Mes.sala Francis X, Bushman Esther May McAvoy Mother of Hur Claire McDowell Tlr^ah Kathleen Key Iras Carmei Myers Simonides Nigel de Brulier Sliielv llderini Mitchell Lewis Sanballat Leo White Arriua Frank Currier Bnkthasar Charles Belcher Madonna Betty Bronson Amrah Dale Fuller Joseph Winter Hall Based on novel by General Lew Wallace. Adapted by June Mathls. Scenario by Carey Wilson. Directed by Fred Niblo. Lengrth, 12,000 feet. to be crucified and on the way to Calvary Ben-Hur tells him of the legions 'he has raised but Christ says he came to save men not to destroy them. In the meantime, Esther learning of the miracles goes 'to the valley of lepers, brings back the mother and sister and Christ cures them. The family is reunited and with Esther as his wife 'they return to the palace of Hur. Here is a story filled to overflowing with dramatic material and superb entertainment angles. 'There is practically everything, romance, action, spectacle, military glamour, family love, gratitude, revenge, deep emotion, and the pitiable plight of the galley slaves, the thrill of the chariot race and the sea battle and strong religious appeal, even a touch or two in lighter vein, though more would be out of place. Unlike the great majority of huge productions with thousands of people the spectacular side does not overshadow the story. In fact, the chariot race does not anticlimax the following sequences in which Christ figures. As to the chariot race, it supplies the screen's superb thrills. Words cannot convey the tremendous feeling that goes over you as you watch these scenes. The enormous amphitheatre with tier on tier of seats filled with thousands of persons, the staging of the event in a manner to do justice to the grandeur and glory of Rome, the host of chariots each drawn by 'four spirited steeds. The effect achieved is remarkable and a striking tribute to the genius of Director Fred Niblo, Mr. Exhibitor: Ask at the Film Exchansea for the Z/kemAiic Mms'ic Cue .SAec^ It's little to ask for, but it's the only reliable aid you can give your musicians r to heha put I he picture over. notably in the way he has sustained the thrill as the chariots 'race around and around the arena. Shot from every angle, you see them tearing around corners, now approaching at breakneck speed, now apparently passing over your head, now viewed from the side with 'the superb animals neck and neck, chariots with wheels locked, upsets narrowly missed by the oncoming vehicles and even a grand smashup of tangled vehicles, men and horses piling on top of each other. These are 'sights not soon to be forgotten. Great as is the chariot race scene it is but one of the big scenes in the picture, for there are the wonderfully effective sequences showing the galley slaves, 'scores of them, in three long tiers on each side of the ship below deck, chained together toiling at their oars, lashed to keep at their tasks, with some dying from exhaustion. This is followed by scenes in which the Roman armada of several huge ships is attacked by an overwhelming number of pirate vessels which ram their way through the sides of the Roman ships or snap ofif the oars dealing death. There are hand-to-hand encounters of hundreds, in fact the glory and savagery of warfare in which neither asks or 'gives quarter is magnificently depicted. Then there is the impressive scene in the valley of lepers which recalls Dore's wonderful illustration of Dante's Inferno. ' This picture has been mounted on a tremendous scale and one can readily believe the statements of its enormous cost for there are 'scenes upon scenes representing huge palaces, streets of Jerusalem and Antioch with their tremendous walls, and capping it all, the enormous amphitheatre. Shots of thousands of persons are numerous, some little more than flashes 'but all essential to the rounding out of the story. The deeply religious note in this picture has been handled with great reverence and powerful effect, and 'most impressive is the manner in which Christ is shown. At no time do you see His face, sometimes an arm or the feet, occasionally the outline of the figure and when He is bearing the cross everything but the head is visible. Powerfully handled too are the scenes in surrounding the nativity of Christ, the shepherds watching their flocks, the wise men following the star which seems to shed ever increasing circles of radiance and the homage to the infant Christ, filmed in Technicolor as are some of the other striking scenes in the picture, are truly beautiful and awe-inspiring. Rivalling the tremendous directorial achievement of Fred Niblo is the 'truly superb portrayal of Ramon Navarro as BenHur. In appearance he is ideal and his handling of the role in all of its varied phases is remarkable. He makes Ben-Hur a living, (Continued on page 264)