What is now one of classic Hollywood’s most celebrated epics also harbored a rancorous, public fight over authorship. Although the final onscreen screenplay credit reads to Karl Tunberg, the finished 1959 Ben‑Hur was the product of a rolling assembly line of literary names — S. N. Behrman, Maxwell Anderson, Gore Vidal and, finally, Christopher Fry — and more than a dozen script versions by the spring of 1958. MGM producer Sam Zimbalist repeatedly hired and dismissed writers and supervisors as director Sidney Franklin fell ill and William Wyler came aboard in late 1957. Vidal arrived in Rome in March 1958 (having earlier been placed on suspension for refusing an assignment) and rewrote virtually all of the dialogue for the film’s first half; Fry then arrived in May and spent the remaining months on set rewriting lines and entire scenes. Tunberg’s original structural cuts (he excised large portions of Lew Wallace’s novel and altered character arcs) remained as scaffolding while Vidal and Fry supplied much of the language audiences remember.
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