Let’s start with the obvious: the remake of Ben-Hur (released this weekend) falls short of the classic 1959 version. The 67-year-old epic directed by William Wyler and starring Charlton Hesston remains potent for audiences today, with memorable moments, dramatic storytelling, and powerful themes.
Who, for example, can forget Quintus Arrius’ directive to “row well and live” from the original, which the remake leaves out entirely? When the remake revisits classic scenes – like Christ giving water to Judah on his way to the galleys and Miriam and Tirzah finding miraculous healing through Christ’s blood – it’s often far more forgettable and done with much less skill than before. (The notable exception is the famous chariot scene, where the remake holds its own by replicating many of the old shots almost exactly and integrating glamorous CGI effects.)
Okay, now that we’ve established the obvious, it’s important to note that the new Ben-Hur does a lot of good things, too. Most noticeably (and refreshingly), the remake stays true to the essence of the story, which revolves around the forgiveness and healing provided by Jesus Christ. In a departure from typical Hollywood reboots, the new Ben-Hur actually emphasizes this theme as least as much as the old version.
The film’s creative team decided to convert Jesus into a speaking role and showed his face, unlike the original, in an apparent attempt to make Him seem more approachable. He preached a message and peace that threatened to overthrow the brutal Roman regime. In this vein, the creative team also opted for a more reconciliatory ending to emphasize the significance of forgiveness.
More emphasis throughout the film fell on developing the humanity of the characters – their individual backgrounds and formative life events. Ben-Hur’s nemesis Messala, for example, comes off as much more reasonable and humane than before. In contrast, the Roman Empire was portrayed as more systematically oppressive, graphically obscene, and downright evil.
One could argue whether this served the story. Diluting specific responsibility for evil also dilutes the necessity of individual repentance and the power of personal forgiveness.
These changes certainly reflect a desire to advance the Gospel, and the heart of the film is in the right place. It’s just a pity that the new Ben-Hur fails to live up to the artistry and prestige – and ultimately the spiritual heft – of its predecessor.
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