Before every Metro-Goldwyn-Mayer film, a lion has been roaring for a century. Only once did he remain silent, and this silence was persecuted by a director who wanted to be respectful of the Child Jesus. It was in ‘Ben-Hur’, in 1959: the lion, instead of roaring as was his custom, appeared still, looking at the camera. It was the first time in the production company’s sound history that it adopted this timid behavior.
Teasing the lion. Wyler did not want his biblical epic, which begins with the Three Wise Men visiting the Baby Jesus, to have as a prelude the roar of a circus animal. The director He then explained to the press that he did not want “the Christmas atmosphere to be disturbed”, and that he convinced Metro to replace the roar with a shot of the still lion that already existed in the studio archive, thus avoiding re-recording anything. Wyler came to regret that the anecdote made more headlines than the film itself, something that at the time seemed almost like a provocation against an untouchable symbol.
The importance of ‘Ben-Hur’. ‘Ben-Hur’ was not just any production for MGM. The studio invested around $15 million in filming, the highest amount ever allocated to a film, at a time when the company was going through serious financial difficulties. The gamble worked: the film grossed nearly $37 million in the United States alone and $80 million worldwide during its initial release, enough to sustain the studio for another decade. At the 1960 Oscars it won eleven statuettes out of twelve nominations, a record that still stands 66 years later and that only ‘Titanic’ and ‘The Lord of the Rings: The Return of the King’ have managed to equal, although not surpass.
Lots of lions, actually. Behind “the lion of the Metro” there is, in reality, a succession of different animals: there are eight that have embodied Leo since 1924, some of which came to visit towns in the United States on a promotional tour. The current one, active since 1957 (although obviously its performer died long ago), is the only one that has formally held the name “Leo”, even though the studio has applied that label to all its predecessors equally.
The first, Slats, didn’t even roar: he just looked at the camera, because the cinema was still silent. Jackie, his successor, was the first to make sound thanks to a gramophone record, and survived two train accidents and one plane accident that left him stranded for several days in Arizona. That is to say, when Wyler arrived, it was not sacrilege to touch the logo with small adjustments.
The logo: it is played. Leo’s roar has been frequently interrupted, although almost never for the same reverent reason that Wyler applied. In ‘Tarzan of the Apes’ the lion reproduces Johnny Weissmuller’s characteristic cry. In the final version of ‘The Pink Panther’, the roar is interrupted by an animated Clouseau. In 2025’s ‘Merv’ the lion is replaced by a barking dog, and in the recent ‘He-Man and the Masters of the Universe’ Cringer, the franchise’s talking tiger, takes his place. However, none of these interventions have the symbolic weight of what happened in 2025 with ‘The Wizard of Oz’ at the Las Vegas Spherewhere the Cowardly Lion played by Bert Lahr occupies the logo circle instead of Leo.
GIPHY App Key not set. Please check settings