Richard and CP24 anchor Karman Wong talk about the weekend’s big releases, including the remake of “Ben-Hur,” the neo-western with Chris Pine, Jeff Bridges and Ben Foster “Hell or High Water,” “War Dogs,” starring Jonah Hill and Miles Teller and the stop motion animated “Kubo and the Two Strings.”
Richard sits in with Todd van der Hayden to have a look Jonah Hill as a twenty-something arms dealer in “War Dogs,” the magical stop-motion animation of “Kubo and the Two Strings,” the neo-western “Hell or High Water” with Chris Pine, Ben Foster and Jeff Bridges and the pointless remake of “Ben-Hur.”
Ben-Hur director Timur Bekmambetov compares the legend of a Jewish prince falsely accused of treason by his adopted Roman brother to Romeo and Juliet, Hamlet “and any story written by Chekhov.”
Ripe with betrayal, revenge and redemption but shaded with love and compassion, Bekmambetov says the story of Ben-Hur is “timeless.”
“The conflicts the characters experience are as relatable today as they were in Roman times or 1880, when Lew Wallace wrote the novel. It’s human nature and that doesn’t change,” says producer Sean Daniel.
The human story is the engine that propels the Ben-Hur narrative, but throughout film history it’s the tale’s chariot race that entertains the eye. In version after version the showdown between the hero and his duplicitous brother is the centerpiece of the action.
This weekend Bekmambetov’s big-budget version of the story stars Jack Huston as Judah Ben-Hur and yes, there is a chariot race. “It was very, very dangerous work,” the director says of the scene that took 45 days to shoot and featured 90 trained horses. Each chariot was attached to four horses and could reach speeds of 65 to 70 km/h.
“There’s no suspension,” says Bekmambetov. “It’s shaky, it’s vibrating. The horses are snorting around you, behind you. It’s absolutely unprotected. You feel like you’re in the hands of fate.”
No animals were harmed during the shooting of Bekmambetov’s chariot race and, remarkably, the only human injury was a broken arm. Historically, however, shooting the chariot scenes has been fraught with problems.
Toronto-born director Sidney Olcott’s 1907 silent version focused on the race. Shot on a beach in New Jersey with local firemen as the charioteers and firehouse horses pulling the chariots, the scene was lifted directly from the novel, which triggered the first major copyright infringement case in movie history. It wasn’t standard practice to ask the author’s permission before adapting their work, but after Ben-Hur the Supreme Court decreed film companies must obtain rights to previously published work.
According to an MGM memo 1925’s Ben-Hur A Tale of the Christ’s chariot sequence took 42 cameras and two months to shoot at a cost of $500,000. The result was 60,960 metres of film which was whittled down to 228.6 metres. The completed sequence was named the Most Edited Scene of all Time by The Guinness Book of World Records and was copied, almost shot-for-shot in the animated film The Prince of Egypt and in the pod race scene from Star Wars: Episode I – The Phantom Menace.
The spectacular scene featured thousands of extras, including William Wyler, who would go on to direct the most famous version of the story, the 1959 movie starring Charlton Heston.
Legend has it that a stuntman was killed during the shooting of the Wyler’s legendary sequence but according to Snopes.com the rumour is false. In fact it was 1925 shoot that claimed the life of a stuntman who was killed when his chariot wheel broke and he was thrown in the air.
On Wyler’s set a stuntman was injured when his chariot overturned and two other horse drawn carts crashed into a bank of cameras but no one was hurt. Later, when Heston, who did most of his own driving in the scene, was asked if he liked shooting the scene he said, “I didn’t enjoy any of it. It was hard work.”
“Are we having fun now, brother?” Messala (Toby Kebbell) hoots midway through “Ben-Hur,” the fourth big screen adaptation of Lew Wallace’s novel, “Ben-Hur: A Tale of the Christ.” It’s a good question. If your tastes run toward “300” with a hint of “Clash of the Titans” or biblical stories laden with action, then the new Timur Bekmambetov directed epic may be just what the gladiator ordered.
A reimagination of Wallace’s book rather than a remake of the classic Charlton Heston film the story sees “Boardwalk Empire’s” Jack Huston in the title role. Judah Ben-Hur is a Jewish prince living in Roman-occupied Jerusalem during the time of Jesus Christ. His adopted brother Messala is an officer in the Roman army. “My family was one of the most respected in Jerusalem,” says Ben-Hur, “until we were betrayed by my own brother.” Divested of his title and separated from his family, he is exiled into a life of slavery in the galley of a Roman ship. Five years into his imprisonment he is freed after a massive shipwreck. Returning to his homeland with vengeance on his mind—“My family deserves justice for what happened to them!”—he challenges Messala to a life-and-death chariot race. “If your brother is the pride of Rome,” says Sheik Ilderim (Morgan Freeman), you beat him and you defeat an empire. Then you will have your vengeance.” In the end vengeance takes a backseat to forgiveness as Ben-Hur encounters Christ and adopts his teachings.
The new “Ben-Hur” may be all about forgiveness, but it’s hard to forgive some of Bekmambetov’s filmmaking choices. The frenetic editing is meant to convey a sense of urgency but instead of creating drama the fast cuts only emphasize what an empty exercise this is. The most famous version of the story, 1959’s epic, may be a bit of a slog these days at over three hours, but at least that version allowed us time to get to know and understand the character’s motivations. The latest retelling ignores niceties like allowing the story to unfold gradually, creating creative tension and the old chestnut, showing not telling, opting instead to bombard the screen with random 3-D images that, when strung together, form some semblance of a story.
But what should we expect from the filmmaker behind “Abraham Lincoln: Vampire Hunter”? He handles the action sequences with a sure hand, imagining the shipwreck from the claustrophobic ship’s lower deck. It’s wet and wild and over-the-top, but at least it isn’t boring. Ditto the classic climatic chariot race. You can’t tell Ben-Hur’s story without it, and Bekmambetov throws his camera in the middle of the action. It’s a festival of CGI and action movie tropes that lacks the classic sensibility of some earlier versions, but has one or two shots that are exciting and different. It’s just too bad we don’t know more about the charioteers other than Ben and Messala. We know they’re probably not going to survive, but the stakes might have been higher if we at least knew who they were.
In this new translation of the tale Judah Ben-Hur learns to leave behind his human desires and think in divine terms. It’s a good message but there is nothing divine about it’s telling.
“300: Rise of an Empire,” the sequel to the 2006 Gerard Butler ab-fest, should rightly be called “300: Buckets of Blood” or perhaps “300 Sweaty, Screaming Men & A Lady.”
A parallel story to the original film, the movie shows what else was happening while Spartan King Leonidas (Gerard Butler, who only appears briefly in flashbacks) and three hundred brave men battled against Persian “god-King” Xerxes’s (Rodrigo Santoro) 300,000 soldiers.
This one is a showdown between the freedom-loving Themistocles of Athens (Sullivan Stapleton, from HBO Canada’s “Strike Back”) and Artemisia of Caria (Eva Green), and that old foe of democracy, King Xerxes. Once again the Greeks are wildly outnumbered but put up a valiant fight against Artemisia, who not only wants to beat the Greek army but humiliate them as well.
This is a manly movie, filled with super macho advice like “don’t get killed on the first day,” and “there is no more noble action than lying in the blood of your brothers.” It’s a violent, testosterone soaked story, drenched in gore and more battle scenes per minute than any war movie in recent memory. There’s so much combat that a fight choreographer appears to have called in to devise the one and only sex scene.
The amount of man flesh on display might shame most of us into renewing our gym memberships, but swinging the biggest sword is Artemisia. She’s ruthless, driven by thoughts of revenge and is an all round awesome movie villain. How evil is she? Early on she plants a kiss on the lips of a man she’s just decapitated… and gets nastier from there.
The movie mimics “300‘s” highly stylized visuals. Much of the film resembles gothic oil paintings, but the addition of 3D introduces a “splatter zone” effect in the theatre as gallons of gore are sprayed across the screen. Also, like the first film, slow motion is used to emphasize the action. It’s so prevalent that if you played all the slo mo scenes in real time the 140-minute movie would only be about an hour long.
“300” was a heavy metal blast of sword and steel, an epic story with larger-than-life visuals but almost ten years on “300: Rise of an Empire” feels a bit old hat. A great villain and some fun action scenes almost make up for the plodding plot but the brutishness of the storytelling makes the original feel positively light hearted by comparison.