Review: Ben-Hur: A Tale of the Christ (dir. Fred Niblo, 1925); Ben-Hur (dir. William Wyler, 1959)

General Lew Wallace had lived a colorful life of his own before his novel Ben-Hur: A Tale of the Christ was published in 1880. By then, he had defended Washington, D.C. from Confederates during the Civil War, served on the court-martial that tried Lincoln’s assassins, and, as Governor of New Mexico Territory, dealt with outlaws like Billy the Kid.

But what he really wanted to do was write — and so he wrote his novel about a Jewish prince who is betrayed by a Roman tribune during the time when Jesus lived. Ben-Hur was spurred by Wallace’s love of stories like The Count of Monte Cristo, but it was also motivated by an encounter with Robert Ingersoll, a famous agnostic who was passionately opposed to Christianity. Until then, Wallace had been indifferent towards religion, but afterwards, he felt he needed to research Christianity for himself — and thus became a believer.

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Interview: Ridley Scott & Orlando Bloom (Kingdom of Heaven, 2005)

LOS ANGELES, CA — There have been surprisingly few films about the Crusades, and most have been ambivalent at best about the legacy of those wars.

Perhaps the biggest Hollywood production until now was Cecil B. DeMille’s The Crusades (1935), a pious romance that impressed future Egyptian president Gamal Abdel Nasser so much that he allowed DeMille to use the Egyptian army as extras in his remake of The Ten Commandments.

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Forget Me Not / Movies and memory.

Few themes in the Bible are as persistent as the call to remember: whether it is God commanding the Israelites never to forget how he brought them out of Egypt, or Jesus telling his followers to eat his body and drink his blood in remembrance of him, or the thief on the cross asking Christ to remember him when he comes into his kingdom, the role that memory plays in shaping our identities and in binding us to each other and to God is integral to the faith.

Memory has also become an increasingly prominent theme at the movies, going back a few years to Memento, an ingenious film noir about a man who has been unable to create new memories ever since he was knocked head-first into a mirror while trying to protect his now-dead wife from a rapist who broke into their house. Despite his condition, Leonard Shelby (Guy Pearce) is determined to hunt the murderer down and kill him, so he surrounds himself with notes and Polaroid photos, and he tattoos the most important clues to his very skin. These notes, he says, are more objective, more true, than mere recollection, which can be unreliable.

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Review: The King of Kings (dir. Cecil B. DeMille, 1927)

The success of Mel Gibson’s The Passion of The Christ has brought renewed attention to the old biblical epics, and if there is any one film that shares Gibson’s visual sensibility and his pious but sometimes lurid flair for melodrama, it would have to be Cecil B. DeMille’s The King of Kings, new on DVD today as the latest classic release from Criterion Collection. Both films feature a hedonistic banquet populated by laughing revelers and a leopard on a leash. Both films feature a crow perched on a thief’s cross. And both films feature fantastic earthquake sequences after Jesus dies — though no one can match DeMille, who seems to think he’s making another Moses movie, for sheer over-the-topness.

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Luther, Luther, Luther!

Editor’s note: The 2003 film Luther comes out on video today. Since Christianity Today magazine already reviewed the film when it hit theaters, we asked Peter Chattaway to compare and contrast three different film versions — from 1953, 1973 and 2003 — about the famous Reformer.

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Review: Kinsey (dir. Bill Condon, 2004); Vera Drake (dir. Mike Leigh, 2004)

THERE are two ways to handle a highly controversial issue, especially when you are looking at the form that that issue took several decades ago, before our culture had settled into its current attitudes and assumptions. Two recent films, both of which take place in the post-war era, offer a stark study in contrasts between these two approaches.

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Review: Alexander (dir. Oliver Stone, 2004)

Years ago, when I was a teenager obsessed with history, I began to wonder why Christ had come to Earth at the particular time that he did. Why not a century or two earlier or later? I eventually settled on the idea that he had come at the time that would have been most opportune for spreading the gospel — a time after the Greeks had unified many of the world’s cultures and bestowed on them a common language, and a time after the Romans had unified many of the world’s governments. It seemed unfair, then, that the Bible had almost nothing to say about the Greek empire; the Assyrian, Babylonian, Persian and Roman empires all had major roles to play, but apart from an obscurely-written prophetic passage or two, the Greeks fell into that gap between the Testaments.

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Review: Alfie (dir. Charles Shyer, 2004)

One of my favorite films of all time is The Family Way, a comic drama from the mid-1960s about a newlywed couple from the north of England whose honeymoon plans fall through and who struggle with the fact that, a few months after the wedding, their marriage remains unconsummated, possibly because they are compelled by economic necessity to live with the husband’s parents. In one scene, the husband and wife go for a stroll through the town, where they are increasingly turned off by various public displays of affection as well as the nudge-nudge nods to sex that they see in the storefront-window advertisements. When they finally have a moment to themselves, the husband, frustrated by his impotence, reminds his wife of a time when they almost did have sex, before they were married; perhaps, he says, they should have done it then, just to break the ice, and she replies that, if she had lost her virginity then, she would not have been able to wear white at their wedding.

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Review: Luther (dir. Eric Till, 2003)

Talk about timing. The same day a new movie about Martin Luther opened in Canadian theatres, the Daily Telegraph reported that German archaeologists had discovered the toilet on which he allegedly composed the 95 Theses that sparked the Protestant Reformation in 1517.

“This is a great find,” said Stefan Rhein of the Luther Memorial Foundation, “particularly because we’re talking about someone whose texts we have concentrated on for years, while little attention has been paid to anything three-dimensional and human behind them.”

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Review: The Bourne Supremacy (dir. Paul Greengrass, 2004)

If we forget The Chronicles of Riddick — and odds are you had until I mentioned it just now — this is turning out to be a good summer for sequels, from big-budget blockbusters like Spider-Man 2 to small art-house films like Before Sunset. Somewhere between the sensibilities of those two flicks lies The Bourne Supremacy, an intelligent, action-packed thrill ride which also has the documentary-like feel of a European travelogue. Unlike, say, the James Bond films, which are loaded with product placements and pyrotechnics, and which gravitate toward famous tourist attractions like the Millennium Dome and the Eiffel Tower, the Jason Bourne movies are filmed in a more naturalistic style, and are grounded in more mundane yet familiar locations: train stations, hotels, and housing projects that are believable precisely because they don’t seem to have been dressed up for a movie.

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