Ben-Hur (1959 Film) - Release - Critical Reception

Critical Reception

Ben-Hur received overwhelmingly positive reviews upon its release. The film received a 89% approval rating from critics on aggregate site Rotten Tomatoes, with its summary stating: "Uneven, but in terms of epic scope and grand spectacle, Ben-Hur still ranks among Hollywood's finest examples of pure entertainment." Bosley Crowther, writing for the New York Times, called Ben-Hur "a remarkably intelligent and engrossing human drama". While praising the acting and William Wyler's "close-to" direction, he also had high praise for the chariot race: "There has seldom been anything in movies to compare with this picture's chariot race. It is a stunning complex of mighty setting, thrilling action by horses and men, panoramic observation and overwhelming use of dramatic sound." Jack Gaver, writing for United Press International, also had praise for the acting, calling it full of "genuine warmth and fervor and finely acted intimate scenes". Philip K. Scheuer of the Los Angeles Times called it "magnificent, inspiring, awesome, enthralling, and all the other adjectives you have been reading about it." He also called the editing "generally expert" although at times abrupt. Ronald Holloway, writing for Variety, called Ben-Hur "a majestic achievement, representing a superb blending of the motion picture arts by master craftsmen," and concluded that "Gone With the Wind, Metro's own champion all-time top grosser, will eventually have to take a back seat." The chariot race "will probably be preserved in film archives as the finest example of the use of the motion picture camera to record an action sequence. The race, directed by Andrew Marton and Yakima Canutt, represents some 40 minutes of the most hair-raising excitement that film audiences have ever witnessed."

There was some criticism, however. Crowther felt the film was too long. Scheuer, whilst mostly praising the film, felt the its biggest fault was "overstatement", and that it hammered home at points long after they had been made. He singled out the galley rowing sequence, Jesus' journey to the place of crucifixion, nearly all the sequences involving the lepers. He also lightly criticized Charlton Heston for being more physically than emotionally compelling. John McCarten of The New Yorker was more critical of Heston, writing that he "speaks English as if he'd learned it from records." Even William Wyler later privately admitted he was disappointed with Heston's acting. Film critic Dwight Macdonald also was largely negative. He found the film so uninvolving and lengthy that he said, "I felt like a motorist trapped at a railroad crossing while a long freight train slowly trundles by." British film critic John Pym, writing for Time Out, was equally dismissive, calling the film a "four-hour Sunday school lesson". Many French and American film critics who believed in the auteur theory of filmmaking saw the film as confirmation of their belief that William Wyler was "merely a commercial craftsman" rather than a serious artist.