#Ben-Hur

[orlaite]

BEN-HUR (1959) | dir. William Wyler

LAWRENCE OF ARABIA (1962) | dir. David Lean

[vildo]

Messāla and his fours Ben-hur 1959

[mudwerks]

(via PEPLUM TV: Behind-the-Scenes)

A photographer on the set of BEN-HUR (1959)

[cursemewithyourkiss]

I've seen both the 1925 and the 1959 version of Ben-Hur and it's fascinating to me how the dynamic between Judah and Messala is almost the opposite from one to the other. In 1925, Messala is the physically imposing one and Judah kind of seems to idolise him, but in 1959 it's Messala who seems really in love with Judah and looks up to him (literally).

[wangmiao]

Shin Sung Rok in Ben-Hur Trailer

[femmeleatherface]

the fact that charlton heston starred in two separate movies:

with strong focus on and themes of religion

where he plays a privileged member of an opressed group in a corrupt society

a society that has him enslaved and stripped half-naked (three-quarters naked, really) so his captors can leer at him while he gets all sweaty and dirty

but he convinces one of his captors to help him escape

and there's a scene where his ship is destroyed during an emergency and he has to survive the seas for an indeterminate period of time on a small floating thing

and also a character named caesar is an important part of the world

is really.................. something.

[coolthingsguyslike]

[portfollies]

[enpleurait]

Musicals in Korea: Take One

The highlight (or embarrassment) of my video call with VIXX was Lee Jaehwan looking at all four musicals I went to in Korea and saying "Wow! Musical maniac!" I didn't even show him my drawer of Broadway Playbills. Actually I'm pretty sure Taekwoon imitating my dolphin squeak is peak embarrassment.

I do not have much experience with Korean musicals. I was, however, (un)fortunate enough to live by Broadway for two years and within two hours for several more. I've so far checked off 15 out of 41 Broadway theatres, and a handful of Off-Broadway theatres. I'm not a "theatre kid", so am coming at theatre as a casual enjoyer. I'd like to think I have some grasp on the pinnacle(?) of the american theatre scene, from smaller black box productions to Majestic classics and hyped up Best New Musical Tony winners.

I was blown away in Korea. 

Since finding info was a pain in the rear, I'm doing a quick write-up of my experience as a non-Korean speaker before I embark on Korean Musicals: Part Two. The four musicals I saw were: 22 Years and 2 Months, Les Miserables, Phantom of the Opera, and Ben-Hur. 

- - - - - -

Some general notes on ticketing:

There are two HUGE differences from purchasing theatre tickets on Broadway (or Toronto, or West End). The first is that the cast schedule is posted ahead of time. The second is that tickets are released in batches, known as 'Ticket Open', separated several weeks apart. A third, less major, difference is that there are often several purchase sites per show, and each purchase site will have a different "block" of seats. The full-price tickets are also much cheaper than Broadway… (although I got a little spoiled and this time looked at my fifth row off-to-the-side Jesus Christ Superstar seats of ~130 CAD and went 'this is kind of expensive'.) For the most part, I bought my tickets for these shows directly from the global interpark website. The other two common sites are Melon and Yes24. Some shows that are on Interpark (korea) will not be on Interpark Global, but may be on Melon. Last year the fee was 3,000KRW but this year it seems to have become 8,000KRW on Interpark Global. This is still much more reasonable than western ticketing sites.

Example cast schedule (may only appear on Korean version of Interpark). This one is for Tebas Land which only has two characters. Unless you're really interested in seeing a particular actor, probably any cast choice is a good one.

Example seating charts for Great Comet, R&J, and Hedwig. Each site takes a 'vertical' chunk, and has all tiers available. Some seats are reserved for box office.

Example of a Ticket Open announcement with the casting schedule announced at the same time. The tickets will go on sale at 2PM on November 6, for shows between the dates of December 17th to January 5th.

- - - - -

22 Years and 2 Months -  Link Arts Center, Bugs Hall, 401 seats

This was a smaller, local production, and I was lucky enough to attend Jaehwan's last performance. I failed at ticketing, but another fan helped me get a ticket! Ticketing is serious business in Korea and seats for shows for well known actors or idols can go in seconds, especially for first and last performances. Imagine trying to get tickets for, say, Aaron Tevit or Daniel Radcliffe--instead of the barrier to entry being ticket prices of 300$-700$, it's down to internet speed and fast fingers. 

In some ways, it's more fair! At least scalped tickets are still much less than for English shows… 

Tickets were will-call. I lined up at the box office, showed them my order number, and they gave me my ticket. I was there pretty early so went to take pictures with the cast board and look at the merchandise. Since it was the last show, several things were out of stock, but I bought a really pretty key-chain, a handkerchief(?), and a program book. The photobook and OST were only available to people who'd seen the show X number of times (five? I forget) which was kind of a bummer. Unlike many Broadway theatres, there's no bar to get an overpriced cocktail in a souvenir cup to sip on through the show.

I again have to stress that I speak zero Korean. The language barrier doesn't bother me, possibly because I was raised on a steady diet of Italian and German opera. I knew the rough gist of the story since it was based on a historical event, and had no trouble following along. The acting was phenomenal--not just the leads, but also the ensemble. No one was ever 'off'. The vocals were… everything. The set was simple, but the use of lighting and projections and sound design brought it to life.

And the sound design. Imagine not getting your ears blown out! Imagine actors enunciating! Imagine mics not cutting off, or speakers turned up to max! I didn't even need my auditory sensitivity aids! Twenty minutes in and I needed all my self-restraint not to message my friend to wax poetic on the sound design and the enunciation. I will give it to Korea that the theatres are all much, much newer, which definitely helps.

Plenty of washrooms, so no need to book it out the door to the washrooms during intermission. Merchandise booth was open during intermission as well. 

Stage door seems to vary from actor to actor and show to show, especially when it comes to idols. This is the only show I 'stage door'ed for. Fans lined up behind barricades and waited for Jaehwan to come out, fansite cameras at the ready, he waved and greeted us and then got into the van and left. He seemed very tired :( Probably because he had a concert in a few days to rehearse for.

The (packaged) MD from 22 years and 2 months.

- - -

Theatres in Korea (or at least in Seoul) are completely dark on Mondays. Some shows are dark on Tuesday as well, but nothing plays on Monday. In other words, I was forced to do non-theatre things, like go to Namsan tower… What a shame.

- - -

Les Miserables - Dream Theatre, Busan, 1700 seats

I'm basic. Les Miserables is one of my favourite musicals. (In no particular order, my top three were Camelot, Phantom of the Opera, and Les Miserables). Circumstances and sheer bad luck meant I'd completely missed its Broadway run and I'd resigned myself to hopefully seeing it one day on West End.

I was initially bummed out because Les Mis closed in Seoul just before I arrived. But! Thanks to the power of public transportation! It takes less than three hours to get to Busan! Where Les Mis was playing! And so, on Wednesday, I hopped on a 7am train to Busan, ate delicious seafood, and went to the matinee performance. The ticket for a 5th row seat was 180,000 KRW with a 3,000 KRW fee. 

Instead of there being one concentrated theatre district, several of the big theatres (arts centers) tend to be further out of the city center. Again, good public transit makes this a non-issue, but it is something to note. 

Other than 22 years and 2 months, the other three musicals were "big" productions. While I'd never seen Les Miserables before, I had the 10th Anniversary Cast recording playing on repeat, and was probably one of the few that actually enjoyed the movie???? Either way, I had high expectations.

Tickets again were will-call, the theatre was pretty big and connected to some other things and up an elevator, but again, showed them the order confirmation, and they gave me the ticket, and off I went to wait. 

Unfortunately, I met my absolute nemesis--school groups. Downside of matinee performances :( I've encountered school groups or summer camps at matinee performances on Broadway, but there were so many of them, they took up almost the entire balcony level, and, I am afraid to say, had all the decorum one might expect of a hundred or so middle/high schoolers. They laughed during 'On my own'!!!! (They weren't that bad. I just don't get along with school groups.)

Merchandise at Korean shows go HARD. None of that basic t-shirt or tote bag or magnets. Although I only ended up picking up a pin badge and a program book, mostly because I got choice paralysis and also had to schlep whatever I got back to Seoul. Playbills aren't a thing, similar to West End, but the program books are basically the most beautiful photobooks for a musical you want. They also have synopsis and cast introductions and all that standard stuff. 

The tiny amount of Les Mis MD (because I was already hauling a bunch of stuff around.)

I unfortunately forgot to take pictures with the cast board for Les Mis because I was too busy avoiding the Hordes Of Children.

Honestly, I don't know what else to say about Les Mis because it surpassed my wildest imaginations, Grantaire had the best delivery of his lines in Drink With Me possible, the stability of all the actors even while moving or while lying down was incredible, and Gavroche was so hecking cute. I cried so many tears. So. So. So. Many. Tears.

I was very excited and impressed and was relaying my appreciation of technology to my friend.

And then I had just enough time to go to Spa Land and still make the last train, and that was what I did in Busan. 

- - -

Ben Hur - LG Arts Centre, 1335 seats

So. Recall how my top three musicals were Les Mis, Camelot, and Phantom? I now have a new one.

Ben Hur.

Ben Hur is an original Korean musical based on a well known book with a well known movie that I did watch when young but mostly slept through. Mostly I remembered: chariots, and Jesus. Wikipedia here was a godsend. 

Ben Hur, by nature, is a big production. They had real horses in the play on Broadway! (They did not have real horses here, but the horses might've been more impressive.) If I ever wanted to see any sort of stage production of Ben Hur, it was not going to be in North America. Also, my little dumpling goober was playing the titular role so an otherwise very painful decision of which cast to watch was made for me. I could not imagine this loser gamer dweeb as Judah Ben-Hur but also, he's my soft loser dumpling gamer dweeb so. Yeah. (Kyuhyun. It's Kyuhyun.) 

This one I was waiting on Interpark and refreshing desperately for ticket open, and managed to get a seat in the 10th row. The ticket was 170,000 KRW with a 3,000 KRW fee. After absolutely botching two ticketing attempt, I was very thankful I got a good ticket! 

Again, tickets were "will-call". IIRC, instead of a box office, they had little machines where you put in your ticket reservation number and the ticket was printed from there. There was a lot of merch, and one thing I wish I got but did not get was a pair of Ben-Hur 'opera glasses'. Yup. In Korea they still use opera glasses, and people in the same row as me were using them too. Honestly, given how emotive the actors are, I can see why you'd want a good look at their faces. In addition to the program book and some keychains, I also got postcards of the dumpling and of another actor who I really want to see some day but didn't have time to. 

Anyway.

LG Arts centre is quite new and is also very big. I'm looking through old convos with a friend and I sent her this image with the caption "Broadway could never".

Look. I'm used to scouting out the bathrooms in any unfamiliar theatre so I know exactly where to bee-line to during intermission. Of course this is incredible to me.

There was no line for the bathroom during intermission.

Out of all of the musicals I saw, this one was the 'loudest'. Mostly because Ben-Hur is about the Roman occupation and there is a lot of whipping and fighting and in other words, there are many things that should be loud. But because sound design in Korea is great, there was a good volume range they could use, so even though it was 'loud' I didn't need to pull out my auditory aids at any point. Also: "if you've ever wondered what it's like to mic up opera singers, I think I'm experiencing that right now." 

I mentioned this in the Les Mis section, but the stability of the actors is incredible. I expect it of the idols, who've trained extensively to sing and be stable while dancing, but wouldn't expect it of a general theatre actor. There were several sword fights and other physical altercations that the actors sang through. I've noticed on Broadway and other English productions, more physical fights tend to be split into 'action' and 'singing'-- sing the lines, do some fighting, stand and sing lines, do more fighting, etc. It's incredibly impressive to watch Valjean choking Javert with a chain, or Messala and Judah having a sword fight and singing through it all.

I did not even attempt to stage door for this. I was actually so tired that I just walked some distance away, stared at the huge crowd waiting at the door, and called a cab. 

I really, really, really wished I'd bought an OST for this. It's an incredible show, and I have an ideal casting in my head that if it ever occurs, I will fly to Korea for. And I will watch it so many times. From so many seats. For as many cast rotations as I can afford. 

- - -

Phantom of the Opera - Charlotte Theatre, 1200 seats

Oh man. Phantom. This was my fourth time seeing Phantom. I'd seen it three times on Broadway, with three different Phantoms, three different Christines, and three different Raouls. This was the best Christine I've ever seen. Imagine my surprise when I open the program book and all I see for her credits is one ensemble performance from the 2018 production of Elizabeth. This is the difference that classical vocal training can make. Best Raoul, best Meg, probably the best Phantom also. Absolutely best in class. 

The Charlotte is gorgeous. It's new, and big, and has the loveliest staircases. There were several photo spots, including the cast board, a backdrop of petals, and a… chibi Phantom statue? It actually has fewer seats than the Majestic (1200 vs 1600) but there is actual leg room. I am so spoiled now.

Once again, the tickets were will-call. Went to the box office on the first floor, gave them my order number, got my tickets, and went to go look at the merch. Phantom has a special place in my heart for being (one of?) the first musical I ever watched live. I'd say that it's because of Phantom I became such a theatre fiend. So in addition to the program book, I ended up with a wine glass, a tote bag, two key-chains, and a magnet. (One of the keychains was for a friend!) Because of how big the Charlotte is, there were a few merchandise booths, with one on the first floor and one on an upper floor. 

My ticket was in the 16th row, and was 160,000 KRW with a 3,000 KRW fee. I didn't get ticket open, and actually got it for the wrong day at first (accidentally double booked with another one) but THANKFULLY noticed fairly quickly. Korea has no cancellation fee for the first few days, and then has increasing cancellation fees to a maximum of 40%.

I learned that the trick to not crying during Phantom, is apparently to cry your eyes out at three musicals during the same week first. Which is good, because it was so emotionally impactful I would have bawled if I'd seen it first. 

Set design was incredible. There are/were rumours that Phantom might return to Broadway stripped down, similar to how Chicago got stripped down--Phantom in Seoul was the opposite of that. It didn't have anything 'extra', but the set was meticulous and breathtaking, and again, I've seen this show three times already. This isn't because it's the first time I've seen the chandelier crash down from the second floor. I also appreciate Asia's dedication to pyrotechnics. Incredibly fun to see the Phantom shoot fireballs at Raul. I imagine that this would've been a pretty big fire hazard at the Majestic though, especially with how packed the seats are.

I'm not sure if there was stage door for this one, but again, even if there was, I was way too tired. Apparently I swore off three evening shows in a row after this, but looking at my calendar for the coming week, I've definitely got three days in a row of evening+matinee shows…

Phantom was the last show I saw in Korea. In the space of a week I'd been to a fanmeet and four musicals, and stayed out past 11 for 3 days in a row. I was wiped.

Not pictured: a wine glass.

Anyway. I'm about to do this again in a few weeks. The line up this time: Jesus Christ Superstar (twice), Tick Tick Boom, Lizzie, Eternity, and Tebas Land (twice). I can't wait.

[vildo]

In this scene, when they’re about to throw spears, together they say Down Eros, Up Mars

which at first glance could simply mean love is nothing, and war everything, indicative of how their friendship is likely to fall apart.

As far as it goes in the book, Messala is quite upfront about his intentions, leaving Judah to choose between a future for their love, or a potential free one for his people

Here in the following scene, things are pretty much the same, on the surface at least. Yet if you pay close attention to the positioning of certain elements, the spears high up there on that cross/crucifix, and the two of them holding hands beneath it, you’ll begin to see the clever choice made to suggest this is a lover’s quarrel, for up there reigns Mars, and Eros is down where they are

[mudwerks]

(via PEPLUM TV: Image of the week!)

Judah Ben-Hur (Charlton Heston) is sent to the galleys of a warship in BEN-HUR (1959)

[variousqueerthings]

last year a recurring theme in movies i watched for the first time and imprinted on seemed to be about the act of existing and even thriving in some way within deeply oppressive systems by creating pockets of freedom (great freedom, joyland, die beautiful, poison, etc)

this year im beginning to see a trend towards films about people completely unable to live within them, either through refusal, a denial of agency, or some other outside force, and therefore attempt to affect some fundamental change of them that may or may not be successful, and often but not always takes on destructive and/or self-destructive dimensions when no other recourse is available (which the above movies also do have some element of) -- death in the gunj, count of monte cristo, lagaan, ben-hur... but the point is the directness of the attempt. you cannot look away now, System

i may be more deliberate in seeking out these choices now, have this circle around and around this year's watches, it's... a feeling i want to chase. i have a Desire

"the deed was not Messala's. I knew him, well. Before the cruelty of Rome spread in his blood. Rome has destroyed Messala as surely as Rome has destroyed my family."

[thenotoriousscuttlecliff]

Featuring Ben-Hur, Hamlet, Ivan the Terrible, Lawrence of Arabia, Once Upon a Time in America, Red Cliff, and War And Peace

[pedroam-bang]

Ben-Hur (1959)

[fairfieldthinkspace]

William Wyler: A Master Filmmaker Revisited

By Jay Rozgonyi

Associate Vice Provost for Pedagogical Innovation & Effectiveness

Director, Center for Academic Excellence

Instructor of both Educational Technology and Film Studies

How about this for a great Final Jeopardy question under the category The Oscars: “He’s the Hollywood director with the most Best Director nominations (12), the most Best Picture nominations (13), and the most acting nominations in his films (36).” Pretty good, I’d say. But chances are that the question will never be used—not because I’m not a staff writer for the show, but also because the answer would likely be considered too hard for most contestants, even serious film fans.

That they wouldn’t be able to name William Wyler is unfortunate, as he was one of the truly great filmmakers of the 20th century. A lot of his movies are well known: Wuthering Heights, Ben-Hur, Roman Holiday, Mrs. Miniver, The Best Years of Our Lives, Funny Girl… I could go on and on. But unlike Alfred Hitchcock and suspense, or John Ford and Westerns, Wyler didn’t focus on a particular genre; instead—as the list of films I just mentioned demonstrates—he moved from comedy to drama to romance to historical epic. Because of that, he was brushed aside by the critics of the 1960s and 1970s, who considered him a gifted Hollywood studio director but thought that he lacked a coherent artistic vision. In fact, Wyler’s highly diverse output was the result of a quest for innovation and a desire to challenge himself by always trying something new throughout a career that lasted nearly 50 years.

If you Google William Wyler filmmaking style, you’ll learn about the way he carefully composed his shots, staggered his actors from deep in the frame to extremely close up, and staged dialogue scenes with few cuts so all the characters are visible at the same time—all directorial techniques that demonstrate his meticulous craftsmanship. I see another element to his films, however, which hasn’t received much attention at all: a steadfast attention to social justice and basic human morality. Once you look for these themes, it’s as easy to spot as his striking camera setups and his precise use of light and shadow. Wyler’s firm sense of conscience comes out in the nuances of his stories and the characters who inhabit them, and in the subtle ways they speak to the issues of their respective days. We see it in 1937’s Dead End, where the Depression has left families broken and juveniles with little sense of hope for their future. We see it in 1946’s The Best Years of Our Lives, where GIs returning from World War II confront a home front that seems to have moved beyond them and their sacrifices, and toward a future focused on making money and assailing anyone who might be a “Commie.” And we see it in 1970’s The Liberation of L.B. Jones, Wyler’s last film and in many ways his most courageous—a brutally honest look at racism in America and the dehumanization it brings upon us all. 

Over the course of 2024, Fairfield University is celebrating the career of William Wyler with an undergraduate course devoted to his work, a series of film screenings at the Fairfield Bookstore on the Post Road, and an exhibition of materials from his private collection titled William Wyler: Master Filmmaker, Man of Conscience, which will be on display at the DiMenna-Nyselius Library from September through December. We’re just a few years away from the 125th anniversary of Wyler’s birth in 1902, so this seems like a good time for a lot more people to get acquainted with the man and his films. Then, perhaps, by 2027, the Final Jeopardyanswer might even be too easy for contestants to ponder. Wouldn’t that be nice?

Fairfield University’s celebration of the life and work of William Wyler would not be possible without the generous support of his daughters, Catherine and Melanie Wyler. We thank them for all that they’ve done to enable us to share their father’s work with our community.

The following movie screenings will be open to the public at 6:30 p.m. on these dates at the Fairfield University Downtown Bookstore, located at 1499 Post Road, Fairfield, Conn.:

April 9: The Best Years of Our Lives (1946); guests: Melanie Wyler (in person) and Catherine Wyler (via Zoom).

October 1: The Desperate Hours (1955); guests: Melanie Wyler (in person) and Catherine Wyler (via Zoom); other Wyler family members may attend via Zoom.

November 19: The Liberation of L.B. Jones(1970); guests: Melanie Wyler (in person) and Catherine Wyler (via Zoom); other Wyler family members may attend via Zoom.

[originaljediinjeans]

I love putting old movies to modern memes