If we hadn’t made that move, it might have been at least another year before I got to see Ben-Hur — that’s the kind of business it was doing; general release still looked a long way off. But voila! — Ben-Hur was playing at Sacramento’s most opulent picture palace, the Alhambra. By that time, as I’ve written here and here, Ben-Hur was more than a movie; it permeated the culture — every newspaper, every magazine, every comedy routine, every conversation. Myself, I had already gotten a set of four toy Ben-Hur chariots for Christmas and played them to pieces. I had even found time to read the book — no small undertaking for a kid, believe you me. One of the Alhambra’s ticket outlets was the Sears Roebuck credit office, and they had a 6-foot-tall cutout of this logo mounted over the counter. That cutout alone was awesome, breathtaking; it was like gazing up at a cardboard Mt. Rushmore. (I wonder if any of those cutouts survive.) I wheedled the astronomical $3.00 admission price from my parents, and one Sunday in September I finally took my seat to have (as the posters promised) The Entertainment Experience of a Lifetime.

  

Well.

 

As it turned out, this milestone in the march of Western Art was only a movie after all. And to my bewildered surprise, as I sat there in the throng — the Alhambra held 2,500 and it was jam-packed to the last row of the balcony — I found a startling thought running unbidden through my head: “This movie…isn’t…very…good.”

 

 

The first stirrings of disappointment came during the pre-title sequence showing the birth of Jesus, with the Wise Men tromping up and plopping their gifts down. It looked as awkward to me as a Nativity Scene enacted by a Sunday School kindergarten…

They didn’t. By the time of the “great sea battle” — nearly an hour and a half later — I had about decided somebody was pulling a fast one. I was twelve years old and thinking, “How fake!” Maybe it was the huge screen, but these boats looked like bathtub toys. Howard Lydecker (though I didn’t know his name at the time) had done a better job on Sink the Bismarck!, and with probably one-tenth the money MGM spent on this.

I wish now I had thought to eavesdrop on the lobby-talk at intermission, but I didn’t, so I don’t know how Ben-Hur was going over by the halfway (actually, about two-thirds) mark. But I remember what I was thinking: “Are they really falling for this?” I felt like the boy in Hans Christian Andersen suddenly blurting out that the emperor had no clothes. But I didn’t blurt anything; I kept my thoughts to myself. I was just a kid, what the heck did I know?

 

I left the Alhambra Theatre that evening sadder, wiser, and four hours older, with a valuable lesson: Don’t believe everything you hear.

Seeing the picture again and again over the years brought into focus things that I hadn’t specifically noticed the first time, but that I could see had added to my general disappointment, like the solemn, leaden pace, with pregnant pauses between and during the speeches, each pause several weeks more pregnant than the last. Or the dull non-performance of Haya Harareet as Esther, Judah Ben-Hur’s love interest. Harareet had little screen presence and less chemistry with Charlton Heston (for contrast, see Heston and Sophia Loren in El Cid), and after Ben-Hur Harareet’s career went precisely nowhere. (For that matter, that’s where it went even during Ben-Hur.)

On a related side-note, we’ve all heard Gore Vidal’s story about how he saved the Ben-Hur script by writing in a homoerotic subtext between Heston’s Ben-Hur and Stephen Boyd’s Messala, a story Vidal continues to tell despite on-the-record denials from both Heston and director William Wyler before they died. Well, maybe it’s there and maybe it isn’t; by the time Vidal started talking about it, Stephen Boyd was no longer around to give his take on it. More obvious to me — now, I mean, not in 1960 — is the same subtext between Ben-Hur and the Roman soldier Quintus Arrius (Jack Hawkins) during the rowing drill in the galley; Arrius gazes intently through hooded eyes at the half-naked Judah as the hortator steps up the drumbeat and Judah strokes, strokes, strokes, faster and faster. Maybe Vidal wrote that too, and maybe Hawkins played it, I don’t know.  My point is that all this talk about real or imagined homoerotic undercurrents in Ben-Hur is possible at least in part because plainly, there’s absolutely nothing going on between Charlton Heston and Haya Harareet.

But back to my train of thought. When I saw Ben-Hur in September 1960, I had already read and enjoyed the book, so I never for a minute believed that the movie had simply gone over my 12-year-old head. Here was a picture that, as I saw it, was mediocre at best, yet it had critics everywhere flying into transports of ecstasy. Even the reliably hypercritical Time Magazine said that the script “sometimes sing[s] with good rhetoric and quiet poetry.” (Really? Somebody quote me a line or two of that singing, quiet poetry. I dare you.)

To me it was a paradox, one I mulled over intermittently for years. Finally I came up with…I can’t really call it a theory, exactly; it’s more a hypothesis. No doubt it’s a gross over-simplification, but I think it’s worth trotting out and looking at.

And now this brings me to what I mean by the title of this post: “The 11-Oscar Mistake”. I don’t mean to say that giving Ben-Hur 11 Oscars was a mistake (although I think it was). What I mean is that there was a serendipitous mistake in the picture itself that wound up making it a huge hit and winning it 11 Oscars.

The mistake happened during shooting of the one sequence where Ben-Hur unquestionably delivers the goods: the chariot race. It’s 8 min. 38 sec. of pure visceral excitement, and to get the full pulse-pounding impact of it you really had to see it in a huge theater on an 80-foot screen with 2,499 other people who were just as edge-of-the-seat excited as you were. (When was the last time you saw any movie with thousands of strangers? I’ll bet it’s been a while.)

The chariot race was the work of second unit directors Enos Edward “Yakima” Canutt and Andrew Marton (finally assembled by editors John D. Dunning and Ralph E. Winters). Yakima Canutt is far and away the greatest and most famous stuntman who ever lived, with a career spanning 60 years from Foreman of Z Bar Ranch in 1915 to Breakheart Pass in 1975 (when he was 80). He all but invented the craft of movie stunt work, and he literally invented any number of safety devices to minimize the inherent dangers of the job. As either stunt performer, stunt coordinator, second unit director, producer or actor (sometimes wearing more than one hat on the same picture) he racked up nearly 500 titles in his filmography. (He also has the distinction of being the first man to go before the cameras in Gone With the Wind, doubling Clark Gable in the burning-of-Atlanta sequence.) For Ben-Hur Canutt selected and trained both the horses and drivers for the race.

 

 

Andrew Marton’s career was almost as long as Canutt’s (from 1927 to ’77), most often as director (King Solomon’s Mines [’50], The Longest Day, Crack in the World, Clarence the Cross-Eyed Lion) but also as second unit director on many major pictures (The Red Badge of Courage, A Farewell to Arms [’57], Cleopatra [’63], Catch-22, The Day of the Jackal). On Ben-Hur Marton was in charge of the crew behind the camera while Canutt handled the human and animal crews in front of it.

 

 

Joe’s chariot hit the ramp. In this frame you can see that the horses are just leaping clear on the other side. (You can also clearly see, with the frame frozen, that it’s not Charlton Heston driving.)

 

 

An instant later the team is safely clear and galloping away, but Joe’s trouble is just beginning.

 

 

The chariot begins to descend and Joe goes into free fall, hanging for dear life onto the front rail.

 

 

The heavy chariot is still coming down and Joe is almost perfectly perpendicular.

Now his feet are over, putting him in a back-bend. He’s a heartbeat away from either being crushed by the half-ton chariot or having the meat ripped from his bones by the bolts studding the underside. (And hey, look over to the right; see that? Yep, it’s one of Andrew Marton’s cameras. I’ll bet even the editors never saw it. The camera is on screen for eight frames, one-third of a second — just long enough to notice if you look that way. But of course nobody ever has.)

It was in this nanosecond that Joe Canutt displayed the combination of quick thinking and athletic prowess that marks the difference between a great stuntman and a dead one. It beggars belief, but here’s what he did: just before his body toppled completely over, he let go his grip on the front rail of the chariot, dropped to a handstand on the tongue just behind the horses’ flying hooves, and pushed himself to the side and clear away. Now I’ve never done a handspring off the tongue of a chariot at a full gallop, but I’m guessing it’s not the kind of thing you can practice for; either you can do it when you have to or you can’t. Joe Canutt could do it.

He didn’t escape entirely uscathed, though. Something on the passing chariot clipped him on the chin, requiring four stitches. He was back at work after half an hour.

Joe Canutt, against all odds, was alive and well, but the shot itself was a dead loss, and after seeing his son go halfway to glory and back again, Yakima Canutt was in no mood to try it again. But according to Heston, at the screening of the dailies the normally detached William Wyler nearly choked when he saw the shot. “Jee-zuss!“ he cried. “We have to use that!”

Yakima Canutt balked. “Don’t see how y’ gonna do that. I promised Chuck he’d win this race. I don’t believe he can catch that team on foot.”

But Wyler knew just how to salvage the shot. Neither Yak nor Heston was crazy about the idea but they did it:

 

I admit, this hypothesis is something I concocted about a movie I didn’t like very much, to try to understand why so many people did. As I said, it’s no doubt an over-simplification. And yet, and yet — I can never prove it, but I’ll always suspect that some of those 11 Oscars, maybe even best picture itself, would have gone home with somebody else if Joe Canutt had been a little more cautious as he pointed his team toward that ramp.