★★★☆☆
The 1880 classic novel “Ben-Hur: A Tale of The Christ” by Lew Wallace has inspired and realised several quality theatrical and cinematic productions. One of them, helmed by filmmaker William Wyler, scored countless Oscars and was remembered as one of the best films made in the 1950s. After almost one and a half century later, it is highly anticipated to see what can today’s filmmakers can do with advanced tools and capabilities.
Filmmaker Timur Bekmambetov attempts to recreate the acclaimed material on the silver screen in a number of formats, which includes IMAX 3D. Being scheduled as a summer release, it is unfortunate (albeit understandable) that the core intentions do not transcend the greatness that Ben-Hur is capable and known for.
Affording little or no time to devise a firm narrative prologue, Morgan Freeman (who also plays Arab trader Ilderim) narrates briefly to bring viewers right into action sequences of horseracing. Characters are introduced with little or no background context and interact with one another rather too productively that resulted in a lack of plausible story and character development throughout the film.
That said, things are sufficient on the screen and script to keep general audience interested as the story progresses on without any planned plot pauses or drags. In a way, the film is considered focused as they dwell upon the main lead characters Judah Ben-Hur (Jack Huston) and his adopted brother Messala Severus (Toby Kebbell).
Both are exposited as positive personalities with strong kinship and camaraderie from the beginning. It is therefore important to present a strong character study of Messala’s gradual fall from grace to darker paths, which is sadly not observed well in the film.
Despite compelling circumstances during warring times of the Roman Empire, the film contains soft references of how decisions made by individuals, whether by choice or compulsion, have an impact on consequences. “Do and say nothing if you want to survive. What matters is to live longer than they do”, Judah says to his adjacent slave aboard a Roman warship.
The story of Judah and Messala speaks of how hatred and vengeance enslaves one’s mind and soul. It is also briefly juxtaposed against a concurrent narrative thread of Jesus of Nazareth and his words of love and forgiveness. In Bekmambetov’s Ben-Hur, scenes of Christ and his Crucifixion are sidelined to prevent dwelling deeper into spiritual themes unnecessarily. This is, after all, a summer blockbuster.
Grandiosity is however technically reflected through digitally enhanced scenes of perilous chariot racing as a Roman spectator sport. While the premise of devising chariot racing in a Roman arena promises much in terms of genre deliverables, the chances of visually replicating grandeur are sadly squandered through average editing and scene choreography.
While Ben-Hur shows gumption of potentially achieving certain greatness, it is sadly reduced to mediocrity due to a lack of strategy. Bekmambetov should have heeded Ilderim’s lessons on good strategy for the win – “First to finish, last to die”.
Also published on InCinemas.sg
cineJay 