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Slavs: they are equal but different. Both films are fine; indeed, considering their implicit function as a sane explanation of a people unintentionally caught up in the commission of international rape, they are excellent. But it is time for Helmut Kautner to subjugate his role of spokesman to that of artist. As long as he essays to Prove Something, his pictures will be limited by their topical boundaries. Let us hope that he is swayed by Helga’s action. She chose humanity above country. He must choose posterity above immediacy.
BARRY SUSSMAN
THE SUN ALSO RISES
THE SUN ALSO RISES. Directed by Henry King from a script by Peter Viertel, based on Ernest Hemingway’ novel. Produced by Darryl F. Zanuck, released by Twentieth Century Fox. Photography (De Luxe color, Cinemascope), Leo Tover; music, Hugo Friedhofer; editor, William Mace. In the cast: Tyrone Power, Ava Gardner, Mel Ferrer, Errol Flynn, Eddie Albert, Gregory Ratoff, Juliette Greco, Marcel Dalio, and others.
The Sun Also Rises, Ernest Hemingway’s treatment of the Lost Generation, has finally come to the screen with its plot and most of its dialogue intact. This once controversial novel has outlived its censors and detractors to be accorded an unusually reverent Hollywood production complete with color and Cinemascope. Unfortunately, the film retains the novelist’s text without capturing the distinctive mood of the original. An aura of remoteness obscures the vital motivations (wildly seeking expression in cynical bravado) of the characters. The impotent Jake, the promiscuous Lady Brett, the tenacious Cohen, although explicitly defined, never come to life in the powerful symbolic relationships which Hemingway disguised so artfully with his hard-boiled prose.
Henry King, a director of indifferent technique, has repeated some of the errors of his previous Hemingway production, The Snows of Kilimanjaro. Once more, he has misdirected his players into unduly expressive readings of the laconic Hemingway dialogue as if the ultimate meanings of the dialogue could be extracted from the dialogue itself rather than from the implications of understatement. The things that matter to Hemingway — love, sex, death and courage — are seldom expressed but always understood, never dramatized but always felt. By dramatizing talk which is only incidental to the emotions it conceals, King dissipates these emotions.
Ava Gardner is a logical choice for Lady Brett, and Miss Gardner is the only member of the cast who seems at home in the boisterous Twenties. The actors who surround her — Tyrone Power as Jake, Mel Ferrer as Cohen, Errol Flynn as Mike, and Eddie Albert as Bill — all seem too old for the bohemian antics of the period. They are a generation too late to convey any loss of idealism. The tableau they evoke in a Spanish sidewalk cafe is that of an assemblage of middle-aged drunkards about ready to settle down after one last binge.
On the whole, The Sun Also Rises is an honorable failure. Credit must be given for attempting the project at all, and for boldly admitting the existence of impotence and nymphomania, although the groundwork was prepared by Joseph Mankiewicz’ more tasteful treat
The Last Bridge
The Sun Also Rises
Love in the Afternoon (Hepburn, Wilder, Cooper)