Think Ben-Hur and you think Charlton Heston, innumerable Oscars and Miklos Rozsa. There have, however been several film versions of Lew Wallace's epic novel which takes in the life of Christ as a kind of parallel to the story of the protagonist, Judah Ben-Hur. Carl Davis has been commissioned to compose scores for many silent films and this particular one was commissioned for Channel 4 to accompany the original 1921 production. Although William Wyler's 1959 version was and still is, seen as vast and lavish, in many ways the first production was even more splendid - the chariot race was shot "live" in real time and full size Roman Triremes were built for the sea battles - Wyler's used (fairly unconvincing) model work. Indeed, the film looks hugely impressive and I should imagine that Davis' thrilling accompaniment adds greatly to the atmosphere and drama, which I suspect would seem overdone and melodramatic by today's standards.

Miklos Rozsa did rather set a standard, his Oscar winning Ben-Hur being considered a landmark in film music, but Carl Davis is no slouch and while his music is conceived on a fairly massive scale, the approach is more romantic. Almost entirely eschewing entirely Rozsa's oft copied "Roman" sounding music with its distinct and harsh intervals, Davis turns the film into an epic ballet - albeit a slightly heavy handed one. I'd pitch it somewhere between Prokofiev, Tchaikovsky (perhaps) and John Williams in early 80's epic mode, the huge and imposing brass of The Chariot Race or Disaster recalling The Empire Strikes Back - at least in the sheer bravura of the approach. The various leitmotif are introduced during the first few tracks, the stirring main theme, the lullaby cradle song for the Nativity, but of course other sub themes and ideas appear as and when. The romantic music of Esther and the Young Prince does swoon somewhat, one can imagine the leading lady falling into the leading man's arms, arm draped across brow.

Of course any self respecting epic isn't complete without a brace of triumphant action which even by today's level of film music bombast, fairly booming stuff. It starts off promisingly enough with the crunching Roman March (the only time when the merest hint of Rozsa's "Roman" music becomes apparent) along with the thrilling Disaster. However the Pirate Battle seems less assured in places and Davis seems to put sheer orchestral force and spectacle ahead of anything else, the orchestral texture becoming just a little cluttered. The centre piece of the score is undoubtedly The Chariot Race, which only disappoints a little toward the end when the themes seem to play over and over again. However, the build up and dynamic shifts throughout the bulk of the cue are quite stupendous and charge onwards towards the crashing finale. Ben-Hur's return provides a welcome break from the action with a more intimate mode taking over.

Carl Davis seems to often be overlooked by film music fans, mainly because he only occasionally writes for new films. Evidently the challenge of writing music to silents he finds much more appealing and he certainly approaches them with great gusto. The sheer operatic scale of Davis' music would undoubtedly be inappropriate for a contemporary film - one only need compare this to Zimmer's Gladiator to see how far we've come (or regressed depending on your point of view) - but however it works with the film, it makes for pulse pounding listening on disc. Anyone who relishes the prospect of a superb orchestra rattling through romance, drama and almost amusingly over the top action will love every thrilling minute of Davis' sterling work.

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