Ben-Xurni ishlab chiqarish (1959 yil film) - Production of Ben-Hur (1959 film)

Ben-Xur yaqinida filmni suratga olish joyi Lifta bo'lishi kerak Quddus

Metro-Goldvin-Mayer (MGM) dastlab e'lon qildi qayta tuzish 1925 yilgi jim film Ben-Xur 1952 yil dekabrda, go'yo Italiya aktivlarini sarflash usuli sifatida.[a][1] Styuart Greynjer va Robert Teylor etakchilik uchun kurashayotgani haqida xabar berilgan edi.[1] To'qqiz oy o'tgach, MGM filmni suratga olishini e'lon qildi CinemaScope 1954 yilda boshlangan.[2] 1953 yil noyabrda MGM ishlab chiqaruvchini tayinlaganligini e'lon qildi Sem Zimbalist rasmga va yollangan ssenariy muallifiga Karl Tunberg uni yozish.[3] Zimbalist MGM-ning eng yaxshi filmi nomzodi bo'lgan nasroniylar va sherlar eposini yaratganligi sababli tanlangan Quo Vadis 1951 yilda. So'ngra 1954 yil iyul oyida studiya 1955 yil mart oyida 42 ta so'zlovchi qism va 97 to'plam bilan ishlab chiqarish boshlanishini e'lon qildi.[4] MGM dedi Sidni Franklin rejissyorlik qiladi, Tunberg ssenariysi tugaydi, tortishish sodir bo'ladi Rim va Ispaniya va bu Marlon Brando etakchi o'rinda edi.[5] 1955 yil sentyabrda Tunbergning ssenariysi to'liq deb da'vo qilishni davom ettirgan Zimbalist 1956 yil aprel oyida Isroilda ham Misrda 7 million dollarlik olti oydan etti oygacha ishlab chiqarilishi MGM ning yangi 65 mm keng ekran jarayonida boshlanishini e'lon qildi.[6] Ammo MGM 1956 yil boshida ishlab chiqarishni to'xtatdi.[7]

1950 yillarning oxiriga kelib, kinostudiyalarni teatr zanjirlaridan voz kechishga majbur qilgan sud qarorlari[8] va televizorning raqobatbardosh bosimi MGMda jiddiy moliyaviy qiyinchiliklarni keltirib chiqardi.[9] Gambleda studiyani qutqarish va muvaffaqiyatidan ilhomlangan Paramount rasmlari 1956 yil Bibliya eposi O'n amr,[9] studiya rahbari Jozef Vogel 1957 yilda MGM yana a ga o'tishini e'lon qildi qayta tuzish ning Ben-Xur.[10] Suratga olish 1958 yil may oyida boshlangan va 1959 yil yanvarda o'ralgan va keyingi ishlab chiqarish olti oy davom etdi.[11] Garchi byudjet Ben-Xur dastlab 7 million dollar edi,[12] 1958 yil fevral oyiga qadar 10 million dollar ekanligi xabar qilingan edi,[13] tortishish boshlanguniga qadar 15 million dollarga yetdi va buni amalga oshirdi eng qimmat film shu vaqtgacha ishlab chiqarilgan.[14] Inflyatsiyaga moslashtirilganda byudjet Ben Xur taxminan 132 million dollarni tashkil etdi doimiy dollar.[15]

Filmdagi sezilarli o'zgarishlardan biri ochilish sarlavhalarini o'z ichiga olgan. Shovullashdan xavotirda Arslon Leo (MGM maskot) sezgir va muqaddas kishilar uchun noto'g'ri kayfiyatni yaratadi tug'ilish sahnasi, Uayler an'anaviy logotipni Leo Arslon jim turadigan belgi bilan almashtirishga ruxsat oldi.[16] MGM tarixida birinchi marta sherlar logotipi uvillashayotganini ko'rmadi.[16]

Oldindan ishlab chiqarish

Rivojlanish

Lyov Uollesning 1880 yilgi romani, Ben-Xur: Masih haqidagi ertak, taxminan 550 sahifaga yugurdi. Hikoyani qisqartirish va romanni ssenariyga aylantirish uchun Zimbalist bir qator ssenariy mualliflarini yolladi. Ga binoan Gor Vidal, 1958 yil bahorigacha ssenariyning 12 dan ortiq versiyalari turli yozuvchilar tomonidan yozilgan edi.[17] 1957 yilda Vidalning o'zi ssenariyning versiyasini yozishni so'ragan, rad etgan va unga joylashtirilgan to'xtatib turish uning qarori uchun.[17] Karl Tunberg ssenariy ustida ishlagan so'nggi yozuvchilardan biri edi. Zimbalist dastlab suratni boshqarish uchun rejissyor Sidni Franklinni tanlagan edi,[12] va Tunberg senariy haqida Franklin bilan maslahatlashdi.[18] Tunberg Isoni xochga mixlaganidan keyin kitobdagi hamma narsani kesib tashladi, Ben-Xur o'limini soxtalashtirgan va Rimliklarni ag'darish uchun yahudiy qo'shinini ko'targan sub-fitnani chiqarib tashladi va moxov ayollarni davolash usulini o'zgartirdi. [b][19] Jim filmning versiyasi Esterni romandagi kabi o'rtada emas, balki rasmning boshida tanishtirgan edi va Tunberg bu xususiyatni o'z ssenariysida ham saqlab qoldi.[20] Ammo Zimbalist Tunberg ssenariysidan norozi edi va o'zini "piyoda" deb his qildi[19] va "ajratib bo'lmaydigan".[21]

Franklin kasal bo'lib, prodyuserlikdan chetlatilgach, yozish harakati yo'nalishini o'zgartirdi.[12] Zimbalist loyihani 30 kishidan biri bo'lgan Uilyam Uaylerga taklif qildi direktor yordamchilari 1925 yilgi filmda,[22] 1957 yil boshida.[23] Dastlab Vayler ssenariyning sifati "juda ibtidoiy, boshlang'ich" va undan yaxshi emas deb hisoblab, uni rad etdi. hack ishi.[24] Unda yaxshi xarakteristikalar yo'q edi, dramatik tuzilish yomon edi va etakchilar qiziq bo'lmagan (shunchaki "yovuzlar va qahramonlar").[24] Zimbalist Uaylerga dastlabki ma'lumotni ko'rsatdi hikoya taxtalari aravalar poygasi uchun va Vayler rasmga qiziqish bildira boshladi. Zimbalist Uaylerga: "Aravalar poygasini unuting. Bu shunchaki ikkinchi birlik narsalar", dedi.[25] Uayler taniqli rasmga "tanani, chuqurligini, yaqinligini" berish haqiqiy muammo bo'lishini aytdi. Zimbalist, shuningdek, Uaylerga film uchun MGM 10 million dollargacha mablag 'sarflashini aytdi va katta byudjetdan taassurot qoldirgan Vayler ssenariyni ikkinchi marta ko'rib chiqishga rozi bo'ldi.[25] Vayler bu voqea haqida qanchalik ko'p o'ylasa, shunchalik uning imkoniyatlari bilan qiziqdi.[9] Biroq, hisobotga ko'ra The New York Times, Uiler yaxshi etakchi odamga ega ekanligiga ishonch hosil qilmaguncha, ishni qabul qilishdan bosh tortdi. MGM Wyler-ga kastingni boshlashga ruxsat berdi va 1957 yil aprel oyida asosiy ommaviy axborot vositalari Vayler italiyalik etakchi erkaklarga ekran sinovlarini o'tkazayotgani haqida xabar berishdi, masalan. Sezare Danova.[26]

1957 yil 13-iyungacha MGM Uaylerning rahbarlik qilish uchun yollanganligini tasdiqlash uchun hali ham rad etmoqda.[27] 1958 yilda ishlab chiqarilgan studiyada ishlab chiqarish boshlanishi kerak edi.[27] Aslida, ekran sinovlarini o'tkazishga va boshqa ishlab chiqarishgacha bo'lgan ishlarda qatnashishga qaramay Ben-Xur, Vayler 1957 yil sentyabrgacha filmni suratga olishga rozi bo'lmagan,[25] va MGM 1958 yilning 3 yanvarigacha ishga qabul qilinganligi to'g'risida e'lon qilmadi.[28] U hali ham etakchi odamga ega bo'lmasada, Uayler ko'pgina sabablarga ko'ra bu topshiriqni bajargan: unga 350 ming dollar maosh va shuningdek, yalpi kassaning 8 foizi (yoki sof foydaning 3 foizi, qaysi biri ko'proq bo'lsa) va'da qilingan,[29] va u yana Rimda ishlashni xohladi (u erda filmni suratga olgan) Rim bayrami ).[9][12] O'sha paytda uning asosiy maoshi bitta film uchun rejissyorga to'langan eng katta maosh edi.[9] Uning rejissyorlik qarorida professional raqobat sabablari ham rol o'ynagan va keyinchalik Uayler "tashqariga chiqishni" xohlaganligini tan olgan DeMille "[12] va "fikrlovchi odam" Muqaddas Kitob eposini yaratish.[30] Keyingi yillarda Uilyam Uayler Masih haqida yaxshi film suratga olish uchun yahudiy kerak edi, deb hazillashardi.[31]

Yozish

Vayler ham Zimbalist singari ssenariydan norozi edi. U Tunbergning loyihasi juda ko'p axloqiy o'yin bo'lib, u hozirgi G'arbning siyosiy tuslari bilan qoplangan va bu dialog juda zamonaviy deb o'ylagan.[32] Zimbalist dramaturgni olib keldi S. N. Behrman (shuningdek, uning ssenariysini kim yozgan Quo Vadis ) va keyin dramaturg Maksvell Anderson qoralamalar yozish.[12] Behrman ssenariy ustida bir oyga yaqin vaqt sarfladi, ammo uning so'nggi versiyasiga qancha hissa qo'shgani noma'lum.[21] Britaniya jurnalidagi ikkalasi ham zamonaviy hisob Filmlar va filmlar shuningdek, Vidal biografi Fred Kaplan Anderson kasal bo'lib, stsenariy ustida ishlay olmasligini da'vo qiling.[18][21] The New York Times ammo, 1957 yil iyun oyida Anderson ssenariy ustida ishlayotgani haqida xabar bergan.[c][27][33] Vidalning so'zlariga ko'ra, 1958 yil bahorida ssenariyda asosan Anderson va Bermanning ijodi aks etgan va deyarli barcha suhbatlar Andersonning «ko'tarilgan she'riy uslubida» bo'lgan.[17] Kaplan bu erda ssenariyni qadimgi Rim dunyosi qanday bo'lganligi haqida "oddiy va minimal" tushunchaga ega, "yassi amerika va xiralashgan rasmiyatchilik o'rtasida" yuzaga kelgan dialog va Yahudo Ben-Xur bilan aniqlanmagan munosabatlarni tasvirlaydi. Messala.[34]

Vidalning biografi Fred Kaplanning ta'kidlashicha, ingliz shoiri va dramaturg Kristofer Fray Vidal bilan bir vaqtda yollangan, ammo aksariyat manbalarda (Vidalning o'zi ham) Vidal Andersonga ergashganligi va Vidal rasmni tark etishga yaqin kelguniga qadar Fray kemaga kelmaganligi aytilgan.[35] Vidalning aytishicha, 1958 yil mart oyining boshlarida Vayler bilan uchrashish uchun Rimga uchib ketganida, Italiyada filmda oldindan tayyorlanish ishlari olib borilgan.[17][d] Vidal Uayler ssenariyni o'qimaganligini va u (Vidalning da'vosi bilan) AQShdan Italiyaga uchib ketayotganda buni o'qiganida, modernistlar suhbatidan xafa bo'lganini aytdi.[17][36] Vidal to'xtatib qo'yilishi va MGM bilan shartnomasini bajarishi uchun uch oy davomida ssenariy ustida ishlashga rozi bo'ldi,[12][17] garchi Zimbalist uni butun ishlab chiqarish davomida qolishga undagan bo'lsa ham.[35] Vidal IV asr Rim imperatori haqidagi kitobni tadqiq qilar edi Julian va qadimgi Rim haqida juda ko'p narsalarni bilar edi.[34] Biroq Uayler bu davr haqida deyarli hech narsani bilmas edi va mart oyining ko'p qismini qadimgi Rim haqidagi deyarli barcha Gollivud filmlarini Italiyada tomosha qilish uchun o'tkazgan.[35]

Vidalning ish uslubi sahnani tugatish va uni Zimbalist bilan ko'rib chiqish edi. Vidal va Zimbalistlar kelishuvga erishgandan so'ng, sahna Vaylerga topshirilishi kerak edi.[35] Vidal Tunberg / Behrman / Anderson stsenariysi tuzilishini saqlab qolganini, ammo deyarli barcha dialoglarni qayta yozganini aytdi.[37] Vidal tan oldi Uilyam Morris 1959 yil mart oyida Fray Vidal ssenariyning birinchi yarmiga qo'shib qo'ygan dialogning uchdan bir qismini qayta yozdi. Vidal bitta tuzilishni o'zgartirdi, ammo u qayta ko'rib chiqilmadi. Tunberg ssenariysida Ben-Xur va Messala birlashib, bitta sahnada tushib qolishgan. Vidal sahnani ikkiga bo'lib sindirdi, shunda erkaklar avval Antonia qal'asida birlashdilar, so'ngra janjallashib, Ben-Xurning uyida do'stliklarini tugatishdi. Vidal, shuningdek, Ben-Xurning Tirza uchun broshka va Messalaga ot sotib olgani kabi ssenariyga kichik belgi qo'shib qo'ydi.[37] Vidal ssenariyning birinchi qismida (aravachalar poygasiga qadar) ishlaganini va Ben-Xur Messala bilan to'qnash keladigan va oilasining ozodligini so'ragan sahnaning 10 ta versiyasini yozganini ta'kidladi.[31][38]

Vidalning gomerotik subtekst haqidagi da'vosi qizg'in muhokama qilinmoqda. Vidal birinchi marta 1995 yilgi hujjatli filmdagi intervyusida shunday da'vo qilgan Seluloid shkafi Va Uaylerni Stiven Boydni xuddi gomoseksual sevgilisi kabi rol o'ynashga yo'naltirishga ishontirganini ta'kidladi.[39] Vidal Messalaning qasoskorligiga faqat sevgilisi his qiladigan rad etish hissi sabab bo'lishi mumkinligiga ishonganini aytdi va Vaylerga Stiven Boyd rolni shu tarzda bajarishi kerakligini va Xeston Messala personajining motivlari haqida qorong'ida qolishini taklif qildi. .[31] Vidal yana Vayler uning maslahatini olganini ta'kidladi. Vidal ushbu sahnani yozganmi yoki Vayler bilan aktyorlik suhbati o'tkazganmi yoki Vayler Vidal yozganini otganmi, munozarali masalalar bo'lib qolmoqda. 1980 yilda Wallace biograflari Robert va Katarin Morsberger Vidalning ssenariyga qo'shgan hissasi noma'lum bo'lib qolganligini aytdilar.[19] Xeston Vayler Vidalni motivatsiya muammosini hal qilmagan deb hisoblaganini va Vayler yozganlaridan ozini otganini yoki ssenariyga ozgina hissa qo'shganini ta'kidladi.[31][40] Vaylerning o'zi ssenariyning ushbu qismi yoki Boydning Gore Vidal bilan bo'lganligi haqida hech qanday suhbatni eslamasligini aytdi,[31] va Vidalning loyihasini Fray foydasiga tashlaganligi.[12] Film tanqidchisi Gari Giddins shuningdek, Vidalning da'volarini rad etadi va ssenariyning 80 foizini Vidal prodyuser bortiga "kelishidan bir necha yil oldin" yozilgan degan xulosaga keladi.[38] Biroq, Vaylerning biograflaridan biri bo'lgan Jan Xerman Vidalning da'vosiga "shubha qilish uchun hech qanday sabab yo'q" deb ta'kidlaydi va Vaylerning suhbatni eslay olmasligi rejissyorning taniqli hushyorligining bir qismi edi.[31] Vidalning da'volarini zamonaviy qo'llab-quvvatlash bor ko'rinadi. Morgan Hudgens, filmning reklama rejissyori, 1958 yil may oyining oxirida Vidalga hal qiluvchi sahna to'g'risida xat yozgan va gomoseksual kontekst mavjudligini nazarda tutgan: "... katta jo'xori (ekipajning Xeston uchun taxallusi) haqiqatan ham o'zingizni" birinchi "ga tashladi Kecha uchrashuv 'sahnasi. Siz bu bolalarning quchoqlashishini ko'rishingiz kerak edi! "[41] Film tanqidchisi F. X. Feni, ssenariy loyihalarini taqqoslab, Vidal ssenariyga katta va katta hissa qo'shgan degan xulosaga keladi.[42]

Filmning so'nggi yozuvchisi Kristofer Fray edi. Charlton Xestonning ta'kidlashicha, Fray Vaylerning ssenariy muallifi sifatida birinchi tanlovi bo'lgan, ammo Zimbalist uni Vidaldan foydalanishga majbur qilgan.[31] Fray Vidalgacha ssenariy ustida ishlaganmi yoki yo'qmi, manbalar Fri 1958 yil may oyining boshlarida Rimga kelgan va haftaning olti kunini sahnada, suhbat satrlarini, shuningdek, butun sahnalarni yozish va qayta yozish uchun sarflaganiga, rasm tugaguniga qadar qo'shilishgan.[43] Xususan, Fray dialogni o'rta va o'rta asrlarga o'xshatmasdan, biroz ko'proq rasmiy va arxaik ohang berdi.[43] Masalan, "Sizning kechki ovqatingiz qanday o'tdi?" bo'ldi "Ovqat sizga yoqmasmidi?"[43] Iyun oyining boshlarida Fry (oxiridan orqaga qarab ishlaydi) ssenariyni tugatdi.[44] Kino tarixchisi Daniel Eagan esa, Fray ssenariyni oxiriga etkazmagan deb da'vo qilmoqda. Aksincha, vaqt o'tishi bilan Vayler rasmni tugatish uchun ssenariyni takomillashtirishni qidirishni to'xtatdi.[12]

Oxirgi stsenariy 230 sahifani tashkil etdi.[45] Ssenariy asl romandan 1925 yilgi jim film versiyasidan ko'ra ko'proq farq qildi. Ba'zi o'zgarishlar film voqealari dramatikligini oshirdi. Boshqalar yahudiy xalqiga (bu davlatga asos solganlarga) qoyil qolishdi Isroil Uollasning romaniga nisbatan "xristian ustunligi" nuqtai nazaridan ko'ra, Amerikaning 1950-yillardagi plyuralistik jamiyati.[46]

Kreditlar bo'yicha nizo

Vaylerning aytishicha, u ssenariy yozgani uchun Tunberg va Frayning qo'shma kreditini olishga harakat qilgan. Tunberg dastlab rozi bo'ldi, dedi Vayler, ammo keyin fikridan qaytdi Ekran mualliflari gildiyasi da'voni muntazam ravishda o'rganib chiqdi.[47] Gor Vidal va kino tarixchisi Gari Giddinsning so'zlariga ko'ra, Vayler Frayga ssenariy uchun ulushsiz kredit olishga harakat qilgan.[47][48]

Ekran krediti kimga berilishi to'g'risida tortishuv tezda jamoatchilikka aylandi. Ga binoan The New York Times, Vidal Screen Mualliflar Gildiyasi tomonidan film uchun kim yozma kredit olishi bo'yicha dastlabki qarorni rad etdi.[33] Ekran mualliflari gildiyasi uning kreditini hakamlik qildi ssenariylarni yozish tizimi va bir ovozdan Tunbergga (tasodifan Gildiyaning sobiq prezidenti bo'lgan) ssenariy uchun to'liq va yagona kreditni taqdim etdi.[33][47][49] Ikkala rejissyor Uilyam Vayler va Sol Siegel, MGM ishlab chiqarish rahbari, Gildiya qaroriga qarshi shikoyat qildi.[33] Tunberg kreditni bo'lishishga rozi bo'ldi, ammo Gildiya o'z qarorini o'zgartirishni rad etdi.[33] Uayler ichki siyosat Gildiyani Tunbergga yagona kredit berishiga olib kelgan deb o'ylab, Fray ssenariysi uchun kredit olish uchun ommaviy ravishda ish olib bordi. Qasos sifatida Gildiya savdo gazetalarida Uaylerni kredit va hakamlik tizimining yaxlitligini buzishga urinishda ayblagan reklamalarni olib chiqdi. Qachon Ben-Xur "Oskar" mukofotlarini eng yaxshi ssenariydan tashqari ko'plab nominatsiyalar bo'yicha qo'lga kiritdi, keyin Gildiya Uaylerni Tunberg nomzodiga aralashishda aybladi. Keyinchalik, Charlton Xeston "Oskar" ni "Eng yaxshi etakchi aktyor" mukofotiga sazovor bo'lganida, Kristofer Frayni qabul qilish nutqida minnatdorchilik bildirdi. Gildiya unga Xestonni ataylab Gildiya va Tunberg obro'siga putur etkazishda ayblagan xat yubordi.[47]

Kasting

Charlton Xeston va Marina Berti Ben-Xur

Yahudo Ben-Xur roli Charlton Xeston tomonidan qabul qilinmasdan oldin bir nechta aktyorlarga taklif qilindi. Burt Lankaster u ssenariyni zerikarli deb bilgani uchun rolni rad etganini da'vo qildi[50] va nasroniylikni kamsitish.[e] Pol Nyuman tunika kiyish uchun oyoqlari yo'qligini aytgani uchun rad etdi.[51] Marlon Brando,[51] Rok Xadson,[f] Jefri Xorn,[g] va Lesli Nilsen[52] shuningdek, bir qator muskulli, kelishgan italiyalik aktyorlar (ularning aksariyati ingliz tilini bilmaydigan) rolini taklif qilishdi.[53] Kirk Duglas rolga qiziqqan, ammo Xeston foydasiga rad etilgan,[h] 1958 yil 22 yanvarda rasmiy ravishda aktyor bo'lgan.[55] Uning maoshi 30 hafta davomida 250 000 AQSh dollarini, 30 haftadan ortiq vaqt davomida taqsimlangan ish haqi va oilasi uchun sayohat xarajatlarini tashkil etdi.[36]

Stiven Boyd 1958 yil 13 aprelda Messala antagonisti sifatida tanlangan.[56] Uilyam Uayler dastlab Xestonni ushbu rolga intilishini istagan, ammo Xestonni Yahudo Ben-Xur roliga ko'chirgandan keyin boshqa aktyor izlagan.[57] Uayler Kirk Duglasni Messala rolida qiziqtirishga urindi, ammo Duglas uni rad etdi.[58] Styuart Greynjer Xabar qilinishicha, u Charlton Xestonga ikkinchi hisob-kitobni olishni istamaganligi sababli ham rolni rad etgan.[59] Vayld uni tanlaganida Boyd "20th Century Fox" da shartnoma bo'yicha o'yinchi bo'lgan.[12] Boyd ham, Xeston ham ko'k ko'zlari bo'lganligi sababli, Vayler Boydni jigarrang kontakt linzalari bilan jihozlagan, bu ikki kishini qarama-qarshi qilish usuli sifatida.[60]

Stiven Boyd
Xaya Xarareet
Xyu Griffit
Jek Xokins

Uayler odatda rimliklarni ingliz aktyorlari bilan, yahudiylarni amerikalik aktyorlar bilan birgalikda ikkala guruh o'rtasidagi bo'linishni ta'kidlashda yordam berishadi.[14][61] Rimliklar filmda aristokratlar bo'lgan va Vayler amerikalik tomoshabinlar ingliz aksentlarini patritsiy deb talqin qilishlariga ishongan.[62] Mari Ney dastlab Miriam rolini ijro etgan, ammo u ikki kunlik ishdan so'ng ishdan bo'shatilgan, chunki u baqira olmadi.[62][63] Xaytonning ta'kidlashicha, Uaylerga aktyorlik qilish uchun taklif qilgan kishi Marta Skott (Xeston Musoning onasi rolini o'ynagan O'n amrva u bilan Brodveyda birga ishlagan) Miriy sifatida.[64] Skott 1958 yil 17-iyulda yollangan.[65] Keti O'Donnel Uaylerning qaynisi edi va garchi uning faoliyati pasayib ketgan bo'lsa ham (Ben-Xur Vayler uni Tirzax rolida ijro etgan.[66] Ester roli uchun 30 dan ortiq aktrisalar ko'rib chiqilgan.[67] Isroil aktrisasi Xaya Xarareet, filmga nisbatan yangi kelgan, 1958 yil 16 mayda Ester rolini ijro etgan,[67] 30 soniyali jim ekran sinovini taqdim etgandan so'ng.[68] Uayler u bilan uchrashgan edi Kann kinofestivali, u erda u o'zining suhbat qobiliyatlari va shaxsiyat kuchi bilan uni hayratga soldi.[69] Sem Jaffe 1958 yil 3 aprelda Simonides rolini ijro etgan,[70] birinchi navbatda u bir qator filmlarda dono keksa patriarx rollari bilan mashhur bo'lganligi sababli.[71] Finlay Kurri Jaffe bilan bir kun Baltasar rolini ijro etgan.[70] Uaylerni ishontirishga to'g'ri keldi Jek Xokins filmda paydo bo'lishi kerak edi, chunki Xokkins tez orada boshqa epik kinofilmda rol o'ynashni xohlamadi Kvay daryosidagi ko'prik.[32] Vaylerning ishontirishga bo'lgan urinishlari muvaffaqiyatli bo'ldi va Xokkins 1958 yil 18 martda aktyorlar tarkibiga qo'shildi.[72] Xyu Griffit Ikkinchi Jahon Urushidan keyingi davrda mashhur bo'lgan Ealing studiyalari komediyalar "Shayx Ilderim" hajviy aktyor sifatida suratga olingan.[73] Finlay Kurri bundan oldin Zimbalist bilan ishlagan Quo Vadis, Muqaddas Piterni o'ynab, Baltasar rolini ijro etdi.[74]

Masihning ilohiyligini hurmat qilish va Lyov Uollesning ta'kidlagan afzalligiga muvofiq,[men] Uayler ishlab chiqarish boshlanishidan oldin Isoning yuzi ko'rsatilmasligiga qaror qildi.[75] Isoning rolini o'ynagan Klod isitgich, bu rol uchun ishonchsiz edi. Isitgich amerikalik opera qo'shiqchisi edi Vena davlat operasi Rimda film uchun ekran sinovini o'tkazishni so'rashganda.[76]

Kastingda Uayler tashqi ko'rinishga yoki aktyorlik tarixiga emas, balki xarakteristikaga katta ahamiyat berdi.[66] Masalan, u Nazaretda Yahudo Ben-Xur suvini inkor qiladigan yuzboshining roli uchun ingliz aktyorini suratga oldi. Aktyor ko'proq maosh talab qilganda, birinchi yordamchi direktor boshqa aktyorni tanladi. Yuzboshining Iso Masih bilan to'qnashuviga bo'lgan munosabati juda muhim deb hisoblagan Vayler, asl aktyorni Rimdan olib ketayotganda, 15000 dollar qiymatida prodyuserlikni to'xtatdi.[77]

MGM 1957 yil o'rtalarida Rimda kichik rollarda va qo'shimcha rollarda rol o'ynaydigan 50 ming kishini tanlash uchun kasting ofisini ochdi.[78] Studiya 1958 yil 12 sentyabrda filmdagi etakchilar uchun kasting tugaganligini e'lon qildi Kamala Devi Shayx Ilderimning qizi Iris rolida suratga olingan.[79] Biroq filmda na personaj, na aktrisa paydo bo'ldi. Jami 365 aktyor filmda so'zlashuvchi qismlarga ega edi, ammo ularning atigi 45 nafari "asosiy" ijrochilar deb hisoblanardi.[80] Ga binoan The New York Times, aktyorlarning atigi to'rttasi (Xeston, O'Donnel, Jaffe va Skott) Gollivudda ishlagan.[80]

Ishlab chiqarish

Kinematografiya

Robert L. Surtees, 1950-yillarning bir nechta eng muvaffaqiyatli dostonlarini suratga olgan va Sam Zimbalist bilan birga ishlagan Quo Vadis 1951 yilda film uchun operator sifatida ishga qabul qilindi.[81] Filmni ishlab chiqarish boshida Zimbalist va boshqa MGM rahbarlari rasmni suratga olish to'g'risida qaror qabul qilishdi. keng ekran format. Uayler keng ekran formatini qat'iyan yoqtirmadi va "Hech narsa yo'q chiqib rasm, va siz uni to'ldira olmaysiz. Sizda juda ko'p bo'sh joy bor, yoki sizda ikki kishi suhbatlashmoqda va ularni atrofingizdagi boshqalar suratga olishgan, bu voqea bilan hech qanday aloqasi yo'q. Ko'zingiz shunchaki qiziqishdan adashadi. "[82]Kameralar ham juda katta, og'irligi va harakatlanishi qiyin va ko'p vaqt talab qilar edi.[82] Ushbu qiyinchiliklarni engish uchun Surtees va Wyler keng ekranli linzalar, film zaxiralari va proektsion texnologiyalaridan foydalanib, film uchun juda batafsil tasvirlarni yaratdilar. Kadrlar o'rnatish uchun ular rim qo'shinlari va suzib yuruvchi kemalarning ulkan qatorlarini, minglab qo'shimchalar bilan qoplangan ulkan me'moriy inshootlarni, keng landshaftlarni va ekran bo'ylab harakatlanadigan harakatlarni namoyish etishni rejalashtirishgan.[83] Uayler taniqli bo'lgan chuqurlikdagi kompozitsiya, odamlar, rekvizitlar va arxitektura shunchaki gorizontal tarzda emas, balki tasvirlangan ingl maydon chuqurligi shuningdek. Shuningdek, u uzoq vaqt talab qiladigan narsalarga kuchli ustunlik berar edi, bu vaqtda uning aktyorlari ushbu juda batafsil makon ichida harakat qilishlari mumkin edi. Keng ekranli kino texnologiyasi, ammo cheklangan maydon chuqurligi. Surtees va Wyler buni bartaraf etish uchun ekranning yarmi oldingi ob'ekt bilan to'ldirilgan sahnalarni yaratib, ikkinchi yarmi fon maydoni bilan to'ldirilgan va keyin diqqat markazida harakat oldingi pog'onadan fonga o'tishi bilan ikkalasi o'rtasida.[83] Bu kabi muhim holatlar, jarohat olgan Messala Yahudo Ben-Xur yugurish jarrohligida paydo bo'lishini kutayotganda, Yahudo Ben-Xur Lepers vodiysida onasi va singlisi tomonidan ko'rinmaslik uchun tosh ortiga yashiringanida va Tog'dagi va'z.[84]

Film "nomi bilan tanilgan jarayonda suratga olinganMGM kamerasi 65 "1957 yil Reyntri okrugi bu jarayonni ishlatgan birinchi MGM filmi edi.[85] MGM Camera 65 maxsus 65 mm ishlatilgan Eastmancolor 2.76: 1 bo'lgan kino zaxiralari tomonlar nisbati.[86] 70 mm anamorfik Mitchell Camera Company tomonidan ishlab chiqarilgan kamera linzalari MGM tomonidan taqdim etilgan texnik xususiyatlarga muvofiq ishlab chiqarilgan.[87] Ushbu linzalar plyonkaning tasvir maydoniga mos kelish uchun tasvirni 1,25 marta qisqartirgan.[88] Keyinchalik 65 mm rasmlar 70 mm plyonkada chop etildi.[89] Film plyonkasidagi qo'shimcha 5 mm bo'sh joy studiyaga yangi oltita trekdan foydalanishga imkon berdi stereo tovush, o'sha paytda tomoshabinlar kamdan-kam eshitgan.[90]

35 mm bosimni yaratish uchun (eng kichkina teatrlarning loyihalashtirishi mumkin bo'lgan plyonkaning turi) har bir freymning yuqori va pastki qismida qora chegaralari bo'lgan 35 mm bosim ishlatilgan.[86] Rejalashtirilganda 2.76: 1 tomonlar nisbati saqlanib qoldi.[86] Filmni alohida teatrlar talablariga moslashtirish mumkinligi sababli, kinoteatrlarda 70 mm uzunlikdagi maxsus, qimmatbaho proektsion uskunalar o'rnatilishi shart emas edi.[91] Bu ko'proq teatrlarga filmni namoyish etishga imkon berdi. Har biri 100 ming dollarga teng bo'lgan 70 millimetrli linzalarning oltitasi ishlab chiqarish uchun foydalanish uchun Rimga jo'natildi.[74][92][j]

Asosiy fotosurat

Vayler 1958 yil aprel oyida, Vaylerda post-prodyuserlik qilishdan besh oy oldin, AQShdan Italiyaga jo'nab ketdi Katta mamlakat tugadi. Vayler uzoq vaqt ishlashiga ruxsat berdi muharriri, Robert Svink, tahrirlash uchun Katta mamlakat u xohlaganicha, shu jumladan Svink qilgan yangi finalni suratga olish.[93] Vayler unga murojaat qilmaslikni so'radi Birlashgan rassomlar ga kiritilgan o'zgarishlar ustidan Katta mamlakat chunki Ben-Xur uning barcha e'tiborini, vaqtini va kuchini oladi. Swink unga 1958 yilning may oyida Vayler tasdiqlagan rasmning so'nggi qismini yubordi.[94]

Men uyqusiz tunlarni Masihning qiyofasi bilan kurashish yo'lini qidirib o'tkazdim. Yigirma asrning barcha buyuk rassomlari siz boshdan kechirishingiz kerak bo'lgan voqealarni, umr bo'yi taniqli inson hayotidagi voqealarni bo'yashganida, bu dahshatli narsa edi. Hammaning allaqachon u haqida o'ziga xos tushunchasi bor. Men hurmatga sazovor bo'lishni va shu bilan birga haqiqatni ko'rishni xohlardim. Xochga mixlash - qonli, dahshatli, dahshatli narsa, va odam yuzida yaxshi ifoda bilan bu narsadan o'tmaydi. Men bu bilan shug'ullanishim kerak edi. Buni qilish juda qiyin va hech kimdan shikoyat qilmaslik.

- Uayler xochga mixlangan voqeani suratga olish qiyinligi haqida.[95]

Oldindan ishlab chiqarish 1957 yil oktyabr oyida Cinecittà-da boshlangan.[13] MGM San'at bo'limi tomonidan film uchun zarur bo'lgan 15000 dan ortiq kostyumlar, to'plamlar, rekvizitlar va boshqa narsalarning eskizlari va rasmlari tayyorlandi (faqatgina 8000 dona liboslar uchun); fotostatlangan har bir buyum; va ularni ishlab chiqarish dizayni guruhi va ishlab chiqaruvchilari foydalanishi uchun o'zaro bog'langan va kataloglangan.[96] Oxir oqibatda milliondan ortiq rekvizit ishlab chiqarilgan.[97] Kintus Arriusning Rimga kirishi va dengiz jangi uchun miniatyuralar qurilishi 1957 yil noyabr oyining oxirlarida boshlangan edi.[98] MGM joylashuvi bo'yicha skautlar Rimga etib kelishdi ("yana") The New York Times) 1957 yil avgust oyida o'q otish joylarini aniqlash.[99] Afrikada joylashishni suratga olish faol ko'rib chiqildi.[100] 1958 yil yanvar oyining o'rtalarida MGM Shimoliy Afrikada filmni suratga olish (keyinchalik aniqlandi) Liviya ) 1958 yil 1 martda boshlanib, u erda studiya foydalanishi uchun allaqachon 200 tuya va 2500 ot sotib olingan edi.[101] Keyin ishlab chiqarish Rimga 1 aprelda ko'chib o'tishi kerak edi, u erda Endryu Marton ikkinchi bo'lim direktori sifatida ishga qabul qilingan va 72 otlar aravalar poygasi ketma-ketligi uchun tayyorlanayotgan edi.[101] Ammo Liviya hukumati 1958 yil 11 martda filmni suratga olish boshlanishidan bir hafta oldin diniy sabablarga ko'ra filmni suratga olish uchun ruxsatni bekor qildi.[102][k][103] Isroilda biron bir ikkinchi film suratga olinganligi aniq emas. 1958 yil 8-iyun kuni The New York Times Marton "qishloqda yuqoriga va pastga" suratga olingan kadrlarni aylanib yurganini aytdi.[104] Biroq, Amerika kino instituti da'vo qilishicha, diniy sabablarga ko'ra Isroilda ham filmni suratga olish uchun ruxsatnoma bekor qilingan (garchi qachon aniq bo'lmasa ham) va filmda Quddus yaqinida otishma rejalashtirilganidan hech qanday kadrlar paydo bo'lmagan.[98]

Asosiy fotosurat Rimda 1958 yil 18 mayda boshlangan.[49] Kinematografiya boshlanganda ssenariy hali tugallanmagan edi, shuning uchun Vayler faqat uning dastlabki 10-12 sahifalarini o'qigan edi.[105] Otish haftada olti kun, kuniga 12 dan 14 soatgacha davom etdi. Yakshanba kunlari Vayler Fray va Zimbalist bilan hikoyalar konferentsiyalari uchun uchrashar edi. Filmning sur'ati shunchalik zerikarli ediki, shifokorni suratga olish joyiga olib kelish uchun uni olib kelishdi B vitamini kompleksi uni so'raganlarga ukol qilish (Vayler va uning oilasi keyinchalik gumon qilingan kadrlar bo'lishi mumkin) amfetaminlar ).[106] Uayler Xyudoning Ben-Xurni ishonarli xarakterga aylantirmaganligini his qilib, Xestonning chiqishlaridan norozi edi. Uayler Xestonni 16 marta otib tashladi: "Men yahudiyman!"[107] 1958 yil noyabrga kelib, ishlab chiqarish sustlashmoqda. Qisman bunga qo'shimcha narsalar sabab bo'ldi. Qo'shimchalarning 85 foizidan ko'prog'ida telefon yo'q va doimiy manzil yo'q edi, shuning uchun ular bilan bog'lanish og'zaki so'zlardan foydalanishni talab qildi. Barcha qo'shimcha narsalar kerak bo'lishi haqida xabar berishdan oldin bir necha kun o'tishi mumkin edi. Tajribali qo'shimcha 30 ga yaqin tajribasiz qo'shimchalarga mas'ul bo'lib, ularni pardoz va shkafdan tashqariga chiqarib tashladi. Minglab qo'shimchalar bo'lgan kunlarda, odamlar soat 5 da kostyumga kirishni boshlaganlar, oxirgi qo'shimchalar soat 22.00 atrofida kostyumdan chiqib ketishadi.[78] Ishni tezlashtirish uchun Vayler ko'pincha asosiy aktyorlarni to'liq kostyum va bo'yanish bilan kutish rejimida ushlab turar edi, shuning uchun agar u birinchi bo'lim sekinlashsa, u tomosha sahnalarini suratga olishi mumkin edi. Aktyorlar Marta Skott va Keti O'Donnelllar Vayler boshqa kadrlar yaxshi chiqmaganida "moxovli sahnalarni" suratga olishlari uchun deyarli 1958 yil noyabr oyini to'liq moxov makiyaji va liboslarida o'tkazdilar.[108] Rasmga tushirish to'qqiz oy davom etdi, bu faqat aravalar poygasi sahnasi uchun uch oyni o'z ichiga olgan.[109]

Asosiy fotosurat 1959 yil 7-yanvarda xochga mixlangan joyni suratga olish bilan yakunlandi.[11][110] Filmni suratga olish uchun ketma-ketlik to'rt kun davom etdi. Xestonning aytishicha, so'nggi kunning otishmasi shunchalik "tortib olingan tortishishlar" bo'lganki, asosiy fotosuratlarning xulosasi deyarli aytilmagan.[95]

Aravalar poygasi ketma-ketligi

Aravalar qoldiqlari ichkariga kirdi Ben-Xur

Aravalar poygasi Ben-Xur tomonidan boshqarilgan Endryu Marton va Yakima Kanutt,[111] ko'pincha rol o'ynagan kinoijodkorlar ikkinchi birlik boshqalarning filmlaridagi rejissyorlar. Har bir odamda rejissyor yordamchisi bor edi, u qo'shimcha lavhalarni suratga oldi.[112] Ular orasida edi Serxio Leone,[113] Ikkinchi bo'limda katta direktor yordamchisi bo'lgan va qayta qabul qilish uchun mas'ul bo'lgan.[114] Uilyam Vayler poyga oldidan sodir bo'ladigan "sahifa" ketma-ketligini, quvonchli olomon sahnalarini va poyga tugaganidan keyin g'alaba sahnalarini suratga oldi.[115] Musobaqa boshlanishidan oldin "sahifa marosimi" ketma-ketligi - 1925 yil jimjit film versiyasidan xuddi shu ketma-ketlikni o'q otish bilan qayta tiklash.[116] Vayler trek atrofida paradni qo'shdi, chunki u aravalar poygasi birinchi navbatda tarkib topishini bilar edi Rasmni yaqinlashtirib olish va o'rta zarbalar. Tomoshabinlarni arenaning ulug'vorligi bilan hayratga solish uchun Vayler paradni tarkibiga qo'shib qo'ydi (garchi bu tarixiy jihatdan to'g'ri bo'lmagan bo'lsa ham).[62]

Asl ssenariy muallifi Karl Tunberg hozirgi mashhur qatorni tasvirlash uchun atigi uchta so'zni ("aravalar poygasi") yozgan edi va boshqa biron bir yozuvchi uning tavsifini kengaytirmagan edi.[75] Marton va Kanutt 38 sahifa ssenariyni yozib, unda poyganing har bir yo'nalishini, shu jumladan, harakatlar, kaskadyorlar va kameradagi suratlar va burchaklarni aks ettirgan.[75] Muharrir Jon Dannning so'zlariga ko'ra, prodyuser Sem Zimbalist aravalar ketma-ketligini rejalashtirish va suratga olish hamda maydonni qurishda chuqur ishtirok etgan.[112]

Dizaynni o'rnating

Aravalar arenasi tarixiy maketga asoslangan edi sirk Quddusda.[117] 18 gektar maydonni egallagan (7,3 ga), bu o'sha paytda qurilgan eng katta film to'plami edi.[118] Bir million dollar qiymatiga qurilgan ming ishchi ovalni tosh kareridan o'yib chiqarishga bir yildan ko'proq vaqt sarfladi.[119][117] Ipodromda 1500 metr (460 m) uzunlikdagi to'g'ridan-to'g'ri yo'llar va besh qavatli baland tribunalar namoyish etildi.[117] Tribunalarni o'rnatish uchun 250 milya (400 km) dan ortiq metall quvur ishlatilgan.[80] Mat rasmlari tribunalar va fon tog'larining yuqori qavatlari illyuziyasini yaratdi.[120] Ishlab chiqarish guruhi qadimgi Rim poyga yo'llarini o'rganib chiqdi, ammo tarixiy yo'lning yuzasi qanday ekanligini aniqlay olmadi. Ekipaj o'zlarining yugurish maydonini yaratishga qaror qildi, bu po'latdan yasalgan aravachalar g'ildiraklarini qo'llab-quvvatlash uchun etarlicha qiyin, ammo yuzlab turlardan keyin otlarga zarar etkazmaslik uchun yumshoq. Qurilish ekipaji maydalangan lava qatlami va mayda maydalangan sariq tosh ustiga yotqizilgan tosh yotqizdi.[75] Yo'lni qoplash uchun O'rta er dengizi sohillaridan 40 mingdan ziyod qisqa tonna (36000 tonna) qum olib kelindi.[121] Sirkning boshqa elementlari ham tarixiy jihatdan aniq edi. Imperial Rim avtoulovlari balandligi 3 metr balandlikda ko'tarilgan orqa miya (markaz qismi), meta (har bir uchidagi ustunli ustunlar orqa miya), delfin shaklidagi lap hisoblagichlari va kareres (poyga oldidan otlar kutib turadigan kameralar joylashgan orqa tarafdagi ustunli bino).[120][122] Yuqoridagi to'rtta haykal orqa miya balandligi 9 fut (9,1 m) bo'lgan.[45] To'plam yonida kattaligi bo'yicha bir xil bo'lgan arava yo'lakchasi qurilgan va otlarni o'rgatish va kameraga tushirish uchun foydalanilgan.[122]

Tayyorgarlik
Lipizzan otlari, xuddi shu kabi Vena, aravalari jamoalari uchun ishlatilgan Ben-Xur.

Aravalar poygasini rejalashtirish qariyb bir yil davom etdi.[117] Yetmish sakkizta ot sotib olindi va import qilindi Yugoslaviya va Sitsiliya 1957 yil noyabr oyida jismoniy holati eng yuqori darajaga ko'tarildi va Gollivud hayvonlari bilan shug'ullanuvchi Glenn Randall tomonidan mashg'ulot o'tkazdi kvadriga (to'rtta otlar tomonidan chizilgan Rim imperiyasining aravasi).[97][117] Andalusiya otlari Ben-Xurning arablarini o'ynashgan, boshqalari esa birinchi navbatda aravalar poygasida qatnashgan Lipitsanlar.[123] A veterinariya shifokori, jabduqlar ishlab chiqaruvchisi va otlarga g'amxo'rlik qilish va ularning har kuni poyga uchun yaroqliligini ta'minlash uchun 20 ta barqaror o'g'il bolalar ish bilan ta'minlandi.[97] Qachon temirchi qilish uchun taqa topilmadi, 18 yoshli italiyalik bolani temirchilik san'atiga o'rgatishdi.[124] Danesi Brothers firmasi[125] 18 aravani qurdi,[126] har birining vazni 900 funt (410 kg).[14] To'qqiz nafari amaliy aravalar edi.[125] Otish uchun tayyorgarlik ko'rish uchun asosiy aktyorlar, stendlar va kaskadyorlar maydonning 100 ta aylanishini amalga oshirdilar.[109] Aravalar poygasi o'ta xavfli deb hisoblanganligi sababli, otish paytida jarohat olganlarga g'amxo'rlik qilish uchun ikkita shifokor va ikkita hamshira ishlaydigan 20 kishilik shifoxona qurilgan.[124][127]

Xeston va Boyd ikkalasi ham arava haydashni o'rganishlari kerak edi. Tajribali chavandoz Xeston Rimga kelganidan keyin har kuni aravada uch soatlik mashg'ulotlarda qatnashdi va tezda mahoratini oshirdi.[43][128] (Shuningdek, u qilich urishni, qanday otishni o'rgangan nayza, tuya minish va eshkak eshish.)[129] Xeston poyga paytida tepib yuborilgan grit uning ko'zlariga shikast etkazmasligi uchun maxsus kontakt linzalari bilan jihozlangan edi.[128] Boyd, ammo haydashda o'zini qulay his qilish uchun (lekin mutaxassis emas) to'rt hafta mashg'ulotga muhtoj edi kvadriga.[43] Boshqa aravachilar uchun Gollivuddan otlar bilan ishlash bo'yicha katta tajribaga ega oltita aktyor olib kelingan. Mahalliy aktyorlar shuningdek, aravachilarni tasvirlashdi. Ular orasida bir vaqtlar qo'riqchi bo'lgan Juzeppe Tosi ham bor edi Italiyalik Viktor Emmanuel III.[78]

Dastlab ishlab chiqarish jadvali aravalar poygasini bahorda, otlar uchun ob-havo salqinroq bo'lganida va Uayler Xeston va Boydning zamoniga og'ir talablar qo'ymaydigan paytda otishni talab qilgan. Biroq, maydonning yuzasi tayyor emas edi, arenalar to'plami tugamagan va otlar mashg'ulotlarini tugatmagan.[43] Aravalar ketma-ketligini suratga olish asosiy suratga olish bilan bir kunda boshlandi. Yana bir bor suratga olish kechiktirildi. Ipodromning yuzasi shu qadar yumshoq ediki, u otlarni sekinlashtirdi va bir kunlik otish yo'qoldi, chunki sariq tosh va 3,5 dyuym (8,9 sm) maydalangan lavadan boshqa hamma narsa olib tashlandi.[130]

Suratga olish

Marton and Canutt filmed the entire chariot sequence with stunt doubles in long shot, edited the footage together, and showed the footage to Zimbalist, Wyler, and Heston to show them what the race should look like and to indicate where close-up shots with Heston and Boyd should go.[75] Seven thousand extras were hired to cheer in the stands.[9][118][l] Economic conditions in Italy were poor at the time, and as shooting for the chariot scene wound down only 1,500 extras were needed on any given day. On June 6, more than 3,000 people seeking work were turned away. The crowd rioted, throwing stones and assaulting the set's gates until police arrived and dispersed them.[131] Dynamite charges were used to show the chariot wheels and axles splintering from the effects of Messala's barbed-wheel attacks.[120] Three lifelike dummies were placed at key points in the race to give the appearance of men being run over by chariots.[127]

The cameras used during the chariot race also presented problems. The 70mm lenses had a minimum fokus masofasi of 50 feet (15 m), and the camera was mounted on a small Italian-made car so the camera crew could keep in front of the chariots. The horses, however, accelerated down the 1,500-foot (460 m) straightaway much faster than the car could, and the long focal length left Marton and Canutt with too little time to get their shots. The production company purchased a more powerful American car, but the horses still proved too fast. Even with a head start, the larger American car could give the filmmakers only a few more seconds of shot time. Since the horses had to be running at top speed for the best visual impact, Marton chose to film the chariot race with a smaller lens with a much shorter minimum focal length. He also decided that the car should stay only a few feet ahead of the horses.[82] This was highly dangerous, for if the car did not make its turns or slowed down, a deadly crash with the horses could occur. The changes, however, solved the problems the camera crew was encountering. As filming progressed, vast amounts of footage were shot for this sequence. The ratio of footage shot to footage used was 263:1, one of the highest ratios ever for a film.[127]

John Dunning and Ralf E. Uinters edited the footage of the chariot sequence. According to Dunning, Winters edited most of the chariot race but the two men discussed it at length with some input from Wyler.[132] The two editors decided that, once the race was under way, one of the charioteers should be killed immediately to demonstrate to the audience that the race was a deadly one. Inserts of the barbs on the hub of Messala's chariot were inserted repeatedly throughout the sequence to make it obvious that his chariot was highly dangerous. As footage was shot, it was roughly edited by Ralph Winters. If the footage was poor, the stunts didn't come off on camera well, or coverage was lacking, then more footage would be shot. At the end of three months, Dunning says, Winters had so much footage on hand that he asked Dunning to come to Rome to help him edit together the final sequence.[112]

One of the most notable moments in the race came from a near-fatal accident. Joe Canutt, Yakima Canutt's son, did Heston's more dangerous stunts during the sequence.[117] When Judah Ben-Hur's chariot jumps over the wreckage of a chariot in its path, Ben-Hur is almost thrown out of his chariot. He hangs on and climbs back aboard to continue the race. While the jump was planned (the horses were trained to leap over the wreckage, and a telephone pole had been half-buried in the earth to force the chariot to jump into the air),[133] stunt man Joe Canutt was tossed into the air by accident; he incurred a minor chin injury.[134] Marton wanted to keep the shot, but Zimbalist felt the footage was unusable. Marton conceived the idea of showing that Ben-Hur was able to land on and cling to the front of his chariot, then scramble back into the kvadriga while the horses kept going.[133] The long shot of Canutt's accident was cut together with a close-up of Heston climbing back aboard constitutes one of the race's most memorable moments.[135] Boyd did all but two of his own stunts.[11] For the sequence where Messala is dragged beneath a chariot's horses and trampled to near death, Boyd wore steel armor under his costume and acted out the close-up shot and the shot of him on his back, attempting to climb up into the horses' harness to escape injury. A dummy was used to obtain the trampling shot in this sequence.[134]

In all, the chariot scene took five weeks (spread over three months) to film at a total cost of $1 million[75] and required more than 200 miles (320 km) of racing to complete.[118] Two of the $100,000 70mm lenses were destroyed during the filming of the close-up shots.[74] Once the "pageantry" and victory parade sequences of the race were finished, Wyler did not visit the chariot race set again. Marton asked the editors to put together a qo'pol kesish of the film, with temporary sound effects, and then asked Zimbalist to screen it for Wyler to get Wyler's approval for the sequence. Zimbalist said no. Wyler was tired, and might not fully appreciate the rough cut and demand that the whole race be refilmed. Zimbalist changed his mind however and showed the rough cut to Wyler several days later. According to Zimbalist, Wyler said "it's one of the greatest cinematic achievements" he had ever seen.[133] Wyler did not see the final cut of the chariot race until the press screening of Ben-Xur.[133]

Miflar

Bir nechta shahar afsonalari exist regarding the chariot sequence. One states that a stuntman died during filming. Kaskadyor Nosher Pauell says in his autobiography, "We had a stunt man killed in the third week, and it happened right in front of me. You saw it, too, because the cameras kept turning and it's in the movie."[136] But film historian Monica Silveira Cyrino discounted this statement in 2005, and said there were no published accounts of any serious injuries or deaths during filming of the chariot race.[117] Indeed, the only recorded death to occur during the filming was that of producer Sam Zimbalist, who died of a heart attack at the age of 57 on November 4, 1958, while on the set.[137] MGM executives asked Wyler to take over the executive producer's job, with an extra salary of $100,000. Wyler agreed, although he had assistance from experienced MGM executives as well.[138] Production supervisor Henry Henigson was so overcome by stress-related heart problems during the shoot that doctors feared for his life and ordered him off the set.[9] Henigson, however, returned to the production shortly thereafter and did not die. Nor were any horses injured during the shoot; in fact, the number of hours that the horses could be used each day was actually shortened to keep them out of the summer heat.[139]

Another urban legend states that a red Ferrari can be seen during the chariot race. Kitob Filmdagi xatolar claims this is a myth.[140] Heston, in a DVD commentary track for the film, mentions that a third urban legend claims that he wore a wristwatch during the chariot race. Heston points out that he wore leather bracers up to the elbow.[141]

Ishlab chiqarish dizayni

Entrance to Cinecittà Studios, where Ben-Xur filmga olingan.

Italy was MGM's top choice for hosting the production. However, a number of countries—including France, Mexico, Spain, and the United Kingdom—were also considered.[142] Cinecittà studiyalari, a very large motion picture production facility constructed in 1937 on the outskirts of Rome, was identified early on as the primary shooting location.[13]

Zimbalist hired Wyler's long-term production supervisor, Henry Henigson, to oversee the film. Henigson arrived in Italy in the spring of 1956.[36] Badiiy rahbarlar Uilyam A. Xorning va Edvard Karfagno created the overall look of the film, relying on the more than five years of research which had already been completed for the production.[119] A skeleton crew of studio technicians arrived in the summer of 1956 to begin preparing the Cinecittà soundstages and back lot, and to oversee the construction of additional buildings which would be needed to house the production team.[142] The largest Cinecittà soundstage was not used for filming, but was used as a vast costume warehouse. Another soundstage housed a quruq tozalash facility, a traditional laundry, a sculptors' workshop, and a shoe repair facility.[119]

Costumes used in Ben-Xur

The Ben-Xur production utilized 300 sets scattered over 148 acres (60 ha) and nine tovush bosqichlari.[117] It was filmed largely at Cinecittà Studios. Several sets still standing from Quo Vadis in 1951 were refurbished and used for Ben-Xur.[117] By the end of the production more than 1,000,000 pounds (450,000 kg) of plaster and 40,000 cubic feet (1,100 m3) of lumber were used.[80][143] The budget called for more than 100,000 costumes and 1,000 suits of armor to be made, for the hiring of 10,000 extras, and the procurement of hundreds of camels, donkeys, horses, and sheep.[14][45] Kostyumlar bo'yicha dizayner Elizabeth Xaffenden oversaw a staff of 100 wardrobe fabricators who began manufacturing the costumes for the film a year before filming began. Special silk was imported from Thailand, the armor manufactured in G'arbiy Germaniya, and the woolens made and embroidered in the United Kingdom and various countries of South America. Many leather goods were hand-tooled in the United Kingdom as well, while Italian shoemakers manufactured the boots and shoes. The lace for costumes came from France, while costume jewelry was purchased in Switzerland.[144] More than 400 pounds (180 kg) of hair were donated by women in the Pyemont region of Italy to make wigs and beards for the production,[124] and 1,000 feet (300 m) of track laid down for the camera dollies.[80] A workshop employing 200 artists and workmen provided the hundreds of friezes and statues needed.[45] A cafeteria capable of serving more than 5,000 extras in 20 minutes was also built.[78] The mountain village of Artsinatszo Romano,[124] 40 miles (64 km) from Rome, served as a stand-in for the town of Nazareth.[43] Beaches near Anzio were also used,[97] and caves just south of the city served as the leper colony.[108] Some additional desert panoramas were shot in Arizona, and some close-up inserts taken at the MGM Studios, with the final images photographed on February 3, 1958.[49]

The film was intended to be historically accurate. Hugh Gray, a noted historian and motion picture studio researcher, was hired by Zimbalist as the film's historical advisor. A veteran of the Hollywood historical epic, it was the last film he worked on.[85] Even the smallest details were historically correct. For example, Wyler asked a professor at the Quddus universiteti to copy a portion of the O'lik dengiz yozuvlari for a scene that called for parchment with Hebrew writing on it.[124]

One of the miniature Roman triremes used in Ben-Xur 1959 yilda.

The sea battle was one of the first sequences created for the film,[145] filmed using miniatures in a huge tank on the back lot at the MGM studiyalari yilda Kalver-Siti, Kaliforniya in November and December 1957.[55][117] More than 40 miniature ships were built for the sequence.[97] The script contained no description of or dialogue for the sea battle, and none had been written by the time the production schedule got around to filming the live-action sequences. According to editor John Dunning, screenwriter Christopher Fry looked at the miniature footage which Dunning had edited into a rough cut, and then wrote the interior and above-deck scenes.[146] Two 175-foot (53 m) long Roman galleys, each of them seaworthy, were built for the live-action segment.[45] The ships were constructed based on plans found in Italian museums for actual ancient Roman galleys.[119] An artificial lake with equipment capable of generating sea-sized waves was built at the Cinecittà studios to accommodate the galleys.[80] A massive backdrop, 200 feet (61 m) wide by 50 feet (15 m) high, was painted and erected to hide the city and hills in the background.[80] Third unit director Richard Torp was hired on July 17, 1958, at the request of William Wyler to film the above-decks sequences,[63] but a directing commitment back in the United States required him to leave the production with filming still incomplete.[145] Dunning says he then directed most of the below-decks scenes, including the sequence in which Quintus Arrius' flagship is rammed.[145] To make the scene bloodier, Dunning sought out Italian extras who had missing limbs, then had the makeup crews rig them with fake bone and blood to make it appear as if they had lost a hand or leg during the battle.[145] When Dunning edited his own footage later, he made sure that these men were not on screen for long so that audiences would be upset.[145][m] The above-decks footage was integrated with the miniature work using process shots va traveling mattes.[148]

Dunning claimed to have directed most of the critical scene in which Quintus Arrius first confronts Judah Ben-Hur on the galley, as well as the following segment in which Arrius forces the slaves to row at high speed.[145] Some of the dialogue in the scene, he says, was shot by Wyler, but most of the rest (including the high-speed rowing) was shot by Dunning himself.[145] Dunning has stated that he spent several days on the high-speed rowing segment, shooting the sequence over and over from different angles to ensure that there was plenty of qamrov. He then edited the immense amount of footage down to obtain a rough cut that matched the script, and then re-edited the footage to be more cinematic and work emotionally on screen.[145] The galley sequence is one of the few scenes in the film which is not historically accurate, as the Rim floti (in contrast to its early modern counterparts) did not employ convicts as oshxona qullari.[149]

One of the most sumptuous sets was the villa of Quintus Arrius, which included 45 working fountains and 8.9 miles (14.3 km) of pipes.[119] Wealthy citizens of Rome, who wanted to portray their ancient selves, acted as extras in the villa scenes.[117] Among them were the Countess Nona Medici, Count Marigliano del Monte, Count Mario Rivoltella, Prince Emanuele Ruspoli and Prince Raimondo Ruspoli of Italy, the Princess Carmen de Hohenlohe, Prince Cristian Hohenlohe and Count Santiago Oneto of Spain, Baroness Lillian de Balzo of Hungary, and Princess Irina Wassilchikoff (Russia).[78] To recreate the ancient city streets of Jerusalem, a vast set covering 0.5-square-mile (1.3 km2) was built,[9] which included a 75-foot (23 m) high Joppa Gate.[117] The sets were so vast and visually exciting that they became a tourist attraction.[9] Tour buses visited the site hourly, and entertainers such as Garri Belafonte, Kirk Douglas, Syuzan Xeyvord, Audrey Xepbern va Jek Palans traveled to Italy to see the production.[150] The huge sets could be seen from the outskirts of Rome, and MGM estimated that more than 5,000 people were given tours of the sets.[80] Another 25,000 tourists stopped by the studios to see the production in progress.[124] The New York Times reported that thousands more viewed the sets without entering the grounds.[80]

Dismantling the sets cost $125,000.[80] Almost all the filmmaking equipment was turned over to the Italian government, which sold and exported it.[80] MGM turned title to the artificial lake over to Cinecittà.[80] MGM retained control over the costumes and the artificial lake background, which went back to the United States.[80] The chariots were also returned to the U.S., where they were used as promotional props.[80] The life-size galleys and pirate ships were dismantled to prevent them from being used by competing studios.[80] Some of the horses were adopted by the men who trained them, while others were sold.[80] Many of the camels, donkeys, and other exotic animals were sold to circuses and zoos in Europe.[80]

Post-ishlab chiqarish

Tahrirlash

Muharrirning so'zlariga ko'ra Jon D. Dunning, the first cut of the film was four and one-half hours long[145] (although a mass media report in March 1959 indicated the running time was closer to five hours).[151] A total of 1,100,000 feet (340,000 m) was shot for the film.[49] William Wyler said his goal was to bring the running time down to three and a half hours.[151] Editors Dunning and Winters saw their job as condensing the picture without losing any information or emotional impact.[145] Dunning later said that he felt some of the leper colony sequence could have been cut.[145] The most difficult editing decisions, he also said, came during scenes which involved Jesus Christ, as these contained almost no dialogue and most of the footage was purely reaction shots by actors.[152] Editing was also complicated by the 70mm footage being printed. Because no editing equipment (such as the Moviola ) existed which could handle the 70mm print, the 70mm footage would be reduced to 35mm and then cut. This caused much of the image to be lost, and according to Dunning "you didn't even know what you had until you cut the negative. We'd print up the 70 now and then, and project it to see what we were getting against what we were seeing in the 35. We really did it blind."[153] When the film was edited into its final form, it ran 213 minutes and included just 19,000 feet (5,800 m) of film.[49] It was the third-longest motion picture ever made at the time, behind Shamol bilan ketdim va O'n amr.[49]

The editors had little to do with inserting music into the film. Composer Miklós Rózsa viewed a near-final cut of the film, and then made scoring notes. Afterward, Rózsa consulted with the editors, who made suggestions, and then wrote his score and had music inserted where he wished.[154]

Musiqiy bal

The film score was composed and conducted by Miklos Rozsa, who scored most of MGM's epics. The composer was hired by Zimbalist[155] (Zimbalist had previously commissioned and then set aside a score from Sir Uilyam Uolton ).[156] Rózsa conducted research into Greek and Roman music of the period to give his score an archaic sound while still being modern. Rózsa himself directed the 100-piece MGM Symphony Orchestra during the 12 recording sessions (which stretched over 72 hours). The soundtrack was recorded in six-channel stereo.[144] More than three hours of music were composed for the film,[157] and two-and-a-half hours of it were finally used, making it (as of 2001) the longest score ever composed for a motion picture.[158] Unlike previous efforts for films set in the distant past, Rózsa quoted no ancient Greek or Roman musical themes in his score.[158] But he did re-use music he had composed for Quo Vadis uning ichida Ben-Xur Xol.[158] Several times when Jesus Christ is depicted on screen, the full orkestr bilan almashtiriladi quvur organi.[144]

Rózsa won his third Academy Award for his score. 2001 yildan boshlab, it was the only musical score in the ancient and medieval epic genre of film to win an Oscar.[158] Like most film musical soundtracks, it was issued as an album for the public to enjoy as a distinct piece of music. The score was so lengthy that it had to be released in 1959 on three LP yozuvlari, although a one-LP version with Karlo Savina conducting the Symphony Orchestra of Rome was also issued. In addition, to provide a more "listenable" album, Rózsa arranged his score into a "Ben-Xur Suite", which was released on Lion Records (an MGM subsidiary which issued low-priced records) in 1959.[157][159] Bu qildi Ben-Xur film musical score the first to be released not only in its entirety but also as a separate album.[158]

The Ben-Xur score has been considered to be the best of Rózsa's career.[160] The musical soundtrack to Ben-Xur remained deeply influential into the mid 1970s, when film music composed by Jon Uilyams for films such as Jag'lari, Yulduzlar jangi va Yo'qotilgan Arkning bosqinchilari became more popular among composers and film-goers.[161]

Rózsa's score has since seen several notable re-releases. In 1967, Rózsa himself arranged and recorded another four-movement suite of music from the film with the Nürnberg simfonik orkestri. Tomonidan chiqarilgan Capitol Records. 1977 yilda, Decca Records recorded an album of highlights from the score featuring the United Kingdom's National Philharmonic Orchestra and Chorus. Sony Music reissued the first two of the three-LP 1959 recording (along with selections from the film's actual soundtrack) as a two-CD set in 1991.[162] Rhino Records issued a two-CD release in 1996 which featured remastered original recordings, outtakes from the original film soundtrack, alternate and recording outtakes, and extended versions of some musical sequences.[158][162] 2012 yilda, Filmlar har oyda va WaterTower musiqasi issued a limited edition five-CD set of music from the film. It included a remastered film score (as heard on screen) on two discs; two discs of alternate versions, additional alternate versions, and unused tracks (presented in film order); and the contents of the three-LP MGM and one-LP Lion Records albums on a single disc.[162]

Adabiyotlar

Izohlar
  1. ^ MGM had extensive amounts of income in Italian lira. In the wake of World War II the Italian government banned the movement of lira out of Italiya as a means of stabilizing the inflation-plagued Italian economy. Finding a way to spend this money in Italy would free up resources elsewhere for the studio.
  2. ^ Instead of being healed as Christ carries His cross, the women are healed after accidentally soaking in rainwater stained by the blood of Jesus after the crucifixion.
  3. ^ The newspaper would later informally retract this statement, and admit in 1959 that Anderson had been too ill to do any writing.
  4. ^ Vidal says he worked on the script for three months. Fry did not arrive in Rome until May 1958 and Vidal says he did not leave Rome until mid or late June, so Vidal's arrival in Rome can be deduced with some accuracy. See: Vidal, p. 73; Herman, p. 400–401.
  5. ^ Buford also says MGM offered Lancaster $1 million to star in the picture, and to pay off $2.5 million in debts owed by Lancaster's production company. Still Lancaster refused. See: Buford, p. 190.
  6. ^ Hudson's agent, Genri Uillson, refused to allow Hudson to take the role, believing that historical costume epics were not right for his client. See: Bret, p. 95; Gates and Thomas, p. 125.
  7. ^ Industry columnist Louella Parsons claimed that Horne was all but cast in the film, due to his performance in Kvay daryosidagi ko'prik. See: Hofler, p. 320.
  8. ^ This inspired Douglas to make Spartak bir yildan keyin.[54]
  9. ^ The novel had been adapted to the theater during Wallace's lifetime. Wallace refused to allow any theatrical production which depicted Christ to go forward, so a beam of light was used to represent the presence of Jesus. See: Lennox, p. 169.
  10. ^ Most sources agree that the lenses were worth $100,000 each. But at least one source puts the value of each lens at $250,000. See: Herman, p. 406.
  11. ^ The Libyan government learned that the production was scheduled to shoot in Israel. Libya, which was at war with Israel, had enacted legislation in 1957 banning any individual or company from doing business with Israel or Jews.
  12. ^ There is dispute over the number of extras used in the chariot race scenes. At least one non-contemporary source puts the number at 15,000. See: Cyrino, p. 73.
  13. ^ There was so much footage of the sea battle left over that Charlton Heston used it in his 1972 film Antoniy va Kleopatra.[147]
Iqtiboslar
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  3. ^ Pryor, Thomas M. "Bank of America Wins Movie Suit." The New York Times. November 4, 1953.
  4. ^ "Kidd Will Repeat Dances for Movie." The New York Times. July 29, 1954.
  5. ^ Pryor, Thomas M. "Hollywood Dossier: New Market Analysis Is Set Up." The New York Times. December 5, 1954.
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  8. ^ Amerika Qo'shma Shtatlari va Paramount Pictures, Inc., 334 US 131 (1948)
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