In 1997, Ben-Hur: A Tale of the Christ was added to the National Film Registry for being "culturally, historically, or aesthetically significant." Considering this, I wish to highlight elements which make the film stand out from other adaptations of General Lew Wallace's book.

Centered in part around the story of Christ, the main focus ends up being Ben-Hur (Roman Novarro). The film shows his disintegrating friendship with the Roman tribune Messala (Francis X. Bushman) and his fall into slavery. However, this won't be the last time he crosses paths with his former friend.

Now, Fred Niblo's production plays as a silent movie -- no heard dialogue or sound effects -- only music accompanies what we see. With the restoration came a new orchestral score composed by Carl Davis. In the 1959 remake, Miklos Rozsa lent the film a unique musical perspective. On the downside, this seems melodramatic to me. Rozsa's style emerges intact, yet some idiosyncrasies are keenly felt. Given such repetition, he ran the risk of making histrionics at the expense of craftsmanship. By contrast, Davis' themes come across as earth bound more than celestial. Such emotional content reflects significant mood changes in the characters, albeit seamlessly. Consider Messala's theme. The magisterial and proud tone felt spot-on for Bushman's performance.

Offering tinted shades of blue, sepia and monochrome, Niblo's picture manages to be even more impressive than William Wyler's remake. Pretty much everyone I have spoken to singles out the chariot race in the Charlton Heston version. A stellar sequence to be sure, yet the 1925 original surpasses it in scale, ambition and execution. The sheer volume of extras, the imposing sets, variety of camera perspectives and the performances put Niblo's film in first place for me. Despite Wyler's best efforts, his take on Ben-Hur seems little more than soap pretending to be an opera.

Tempting as it might be to lose sight of the personal and quirky on such a mega canvas, Niblo remains remarkably composed. Every incident whether social, political or otherwise has consequence. It's here that Bushman's portrayal of Messala plays to the film's hidden armoury. He's first-rate in disregarding friendship for personal gain. Reactions and body language confirm authentic waves of the human experience. Much storytelling occurs in the eyes. Animated in small doses, he conveys bitterness via Herculean perspiration. It's a wonder the Best Supporting Actor category did not begin here.

Then there's the music of Carl Davis. While Rozsa chose to leave the chariot race unscored, Davis grabs the reins and produces symphonic heat. It's a breathtaking moment where music and cinematography become linked at the joint. The peaks and valleys in this composition, the breath before a crucial run and the thunderous pace leave impressions on mind and ear. Actually, this stands as one of the most genuine, action-packed vignettes in all movie making.

Time to rhyme:

A friendship once resplendent

Leaves both men independent.

On the high seas a chance

For Ben-Hur's freedom dance.

A bittersweet compromise for one brother

In a contest against one another.

Although a number of Ben-Hur films exist

This particular feature I cannot resist.

There's size and scope

A glimmer of hope.

Music offers bite size chunks

In lieu of techno funks.

A story with this many layers

Requires professional and moving players.

The acting plays to the moment

Sharing dramatic firmament.