The troubled Italian set was eventually torn down and a new one built in Culver City, California. The famed chariot race was shot with 42 cameras, which consumed 200,000 feet of film. Second-unit director B. Reeves Eason offered a bonus to the winning driver who won the race. The final pile-up was filmed later; the stuntmen for the chariot race scene were not seriously injured, but several horses were killed during production.
According to The Guinness Book of World Records (2002), the movie 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 first attempt to film the chariot race was on a set in Rome, but there were problems with shadows and the racetrack surface. Then one of the chariots' wheels came apart and the stuntman driving it was thrown in the air and killed. See also Ben-Hur (1959).
MGM inherited the production of Ben Hur when the company was founded in 1924; with the film over budget and getting out of control, the studio halted production and relocated the shoot from Italy to California, under the supervision of Irving Thalberg. William Wyler, one of more than 60 assistant directors for the chariot race, went on to direct the remake Ben-Hur (1959).
The religious scenes in Ben Hur were filmed in Technicolor, but the chariot race were filmed in regular tinted black & white film, due to the intense amount of light that was required to shoot in Technicolor, making production in this film extremely difficult at times.
Although the film grossed $9 million on its initial run, its huge cost overruns and the deal with rights-holder Abraham L. Erlanger meant that MGM was unable to make good on its initial $4-million investment. It was not until a 1931 re-release did it make a profit.
Clark Gable and his future wife Carole Lombard first met in late 1924 while working as extras on the set of this film. They would run into each other off and on again for the next year and a half (the two also appeared as extras in the epic The Johnstown Flood (1926)), but would not formally meet until 1931.
During a European visit to move the production from Italy to the US, producer Louis B. Mayer stopped in Berlin, Germany, and attended a screening of The Saga of Gösta Berling (1924). The production introduced him to the actress who would become one of the studio's most bankable stars a few years later: Greta Garbo.
Actor George Walsh, the original choice for Ben-Hur, agreed to take a $400 cut in salary, and was sent second-class on a ship to Italy, only to shoot one reel of film, a test with an unidentified Italian actor that was not intended for use in the finished film. He then heard, several months later, that he was being replaced with Ramon Novarro when co-star Francis X. Bushman told him he had read about it in the morning papers.
Author F. Scott Fitzgerald and his wife Zelda Fitzgerald became friendly with many of the cast and crew while in Rome revising his book "The Great Gatsby". They attended a cast/crew dinner on Christmas Eve, honoring director Fred Niblo and his wife Enid Bennett. Zelda, among others, signed one of the dinner menus, which became the possession of Carmel Myers, who played Iras in the film. The menu is now in the archives of the University of South Carolina library.
After being brought to Italy, many of the lead actors were kept waiting around (on salary) for so long that Francis X. Bushman went on a 25-country tour with his sisters, and Carmel Myers went to Germany to film Garragan (1924).
For the sea battle, scores of extras were required to play galley slaves and Roman soldiers. Because of the high unemployment figures in Italy, many extras desperate to get a job, lied that they could swim when they were being hired. An accident on the boat, and the fact that no one was sure how many extras were involved in the scene, caused great unease among the MGM management. Rumour has it that afterwards the production manager and his assistants took a boat out, and brought chains with them, to weigh down any bodies they might find floating on the surface.
Abraham L. Erlanger was the producer of a very successful stage production that had been running for 25 years. In 1922, two years after the play's last tour, the Goldwyn Company purchased the film rights, though Erlanger insisted on a generous profit participation deal and total approval over every detail of the production.
Many of the scenes in this film, interestingly enough, were NOT remade in the more popular 1959 version of the story. Among these are the three Wise Men's journey through the desert, Mary and Joseph seeking refuge in the manger, and the scene in which Messala enlists the help of Iris to discover the identity of his chariot-racing opponent.
At one point during the Italian shoot, Francis X. Bushman was offered the job of directing the picture which he readily declined. He stated that he told the head office (MGM Culver City) to get the production back to Los Angeles or they would never get it completed. Bushman had been in Italy for the film from 1923-1925.
The sea battle was filmed at Anzio, Italy. Many extras apparently lied about being able to swim, but due to political troubles engulfing Italy at the time, tension between Fascist supporters of Benito Mussolini and their opponents was evident.
According to press interviews with her, Carmel Myers (who played Iras) spent a lot of time shopping while on location for this film in Italy, leaving to go to major European capitals. The blond wig that Iras wears in her first scene was bought by Myers on a shopping trip to Vienna.
One of the chariots from this film was at one point housed in The Crocker Museum in Hollywood, the first museum dedicated to props and other artifacts from American films. The museum was started by actor Harry Crocker, circa 1928, and was located on Sunset Blvd.
According to an article in the December 1923 issue of American Cinematographer, John W. Boyle brought three motorized Bell & Howell cameras to Italy for use during the film's first phase of production.