A Chuck Jones masterpiece, a one of kind hilarious comment on human nature, the search for our hopes, the quest for our dreams and the pursuit of the happiness that we find in them; all told in just 7 minutes. I don’t know about you but every time I have a tech look at my PC (or for that matter a mechanic at my car, repairman at my washer or dryer, and so on, and so forth) I just can’t seem to reproduce the issue, which is now a called a “Dancing Frog”, a terminology for a computer problem that will not appear when anyone else is watching, due to our Froggy friend. By the way, lest we forget, the song “The Michigan Rag” was written (by One Froggy Evening writer Michael Maltese) solely for this short-film. And further, (I understand that cartoons take on a life of their own, but they are not real, at least that is what my mom told me) Hollywood nightclub singer Bill Roberts (popular in Hollywoodland during the 1950’s) provided the singing voice of the frog.
For everybody that loves the “Michigan Rag” here are the words for your perusal:
Everybody do the Michigan Rag
Everybody likes the Michigan Rag
Every Mame and Jane and Ruth
From Weehawken to Duluth
Slide, ride, glide the Michigan
Stomp, romp, pomp the Michigan
Jump, clump, pump the Michigan Rag
That lovin’ rag!
By C. S. Williams
As we can see from the posters, lobby cards, programs and ads for Ben Hur: A Tale of the Christ, every means and all tools were used to promote this film, yet, because of its budget (most expensive of the silent era at 3.9 million) it lost money on its initial run, finally making a little profit in the re-release in 1931 when a score and sound-effects were added. (See our post about another Easter favorite, from 1935: Golgotha)
Stills from Ben Hur: A Tale of the Christ:
Forty-eight cameras were used to film the sea battle, a record for a single scene.
The Guinness Book of World Records (2002 edition), relates that Ben Hur: A Tale of the Christ, contains the most edited scene in cinema history. Editor Lloyd Nosler compressed 200,000 feet (60,960 meters) of film into a mere 750 feet (228.6 meters) for the chariot race scene – a ratio of 267:1 (film shot to film shown).
The religious scenes were all shot in Technicolor along with Ben Hur’s entrance into Rome and some of the interiors.
Behind the scenes stills: