Wem die Stunde schlägt

When I first saw For Whom the Bell Tolls, I thought it was overlong and overrated. Since then, I've decided to re-evaluate the film and have decided that the film can be summed up as follows.

PROS:

(1) Hemingway and Cooper were friends, and Hemingway wrote the Robert Jordan character with Cooper in mind and handpicked Cooper for the role. Sure, it would have been nicer if this film had gotten made when he was younger, but it's hard to imagine anyone other than Cooper playing Jordan.

(2) This was only Cooper's second color film in a long and illustrious film career that began in the silent era, and Bergman's first color film. It's a treat to see both stars in Technicolor, and both of them are utterly luminous in their close-ups (I'd say Cooper actually has a slight edge here since, unlike Bergman, he didn't benefit from a soft focus effect, and it's hard to imagine another leading man of this era who was better suited for close-ups than Cooper was, even though he was in his 40s here and a little past his prime).

(3) Some reviewers felt that Cooper and Bergman had no chemistry, but I strongly disagree. The two were having an affair while working on this film. If Bergman seems like she's gushing over Cooper, she probably wasn't merely acting.

(4) If Cooper seems wooden to some people, he's supposed to be playing a stoic character who exemplifies grace under pressure, but is also sensitive, idealistic, and quietly romantic at the same time.

(5) It's hard not to notice that Cooper's look in the film must have been the inspiration for Indiana Jones, which makes me think that this film was much more influential than I had previously thought it was.

CONS:

(1) This didn't need to be a nearly 3-hour movie, and I wish it were 30 minutes shorter.

(2) I appreciated the supporting actors and initially liked their performances, but when I re-evaluated the film, I felt that they were over-acting and seemed like caricatures (and no, I'm not referring to their make-up; I'm referring to their acting).

(3) I wish there would be a properly restored version of this film.

For Whom the Bell Tolls is not without its faults, but I give credit to Old Hollywood and Sam Wood for even making a film that is this faithful to a novel--so faithful that it moves at a glacial pace at times, but I also think that people had longer attention spans back then and did not need instant gratification like people do now.

I have read most of Hemingway's novels and enjoy him for the romantic he is (why is it some people view him as a realist?). However, when I see this film, as well as the Tyrone Power version of THE SUN ALSO RISES, I am left wondering if the problem with Hollywood adaptations of his work was that they were TOO faithful. That's right, all you Hemingway lovers: too faithful. The man's dialog works on paper, but when spoken by the actors--good actors at that--it becomes downright silly.

Hemingway once wrote a play, THE FIFTH COLUMN, that was snickered by theatre-goers in 1937. He learned his lesson and never wrote another play. Some of the Hollywood scriptwriters might have also learned, if not from the reviews of THE FIFTH COLUMN, at least from the film of THE KILLERS: the best way to adapt Hemingway is to steer away from his dialog, not stick so close to it.

That said, I must confess I enjoy this film like the others...though I can't help but chuckle at it sometimes.

Set against the backdrop of the Spanish Civil War, the prelude to WWII, this is one of the great action/adventure films of all time and the best screen adaption of any Hemingway novel. Cooper and Bergman set the sparks flying like Bogie and Bacall, and are sexier on screen without ever taking their clothes off than any of todays red hot lovers stark naked. Coop's hat alone deserves an honorary Oscar for Best Costume. Old pros like Vladimir Sokoloff, Akim Tamiroff and Fortunio Bonanova (whom film buffs will recognise as the opera coach from "Citizen Kane") keep that inimitable Hemingway dialogue moving at a brisk pace and Katina Paxinou, who copped the Best Supporting Actress award, is the embodiment of one of Hem's greatest characters. I have the 156 min version taped off cable and the added footage makes you hungry to see the whole 170 minute version (if it still exists). Don't miss this one. Four stars.

Ernest Hemingway was most particular about how is work should be portrayed on screen. He had hated the version of A Farewell to Arms that was done ten years earlier.

What he did like was Gary Cooper's portrayal of a Hemingway hero. He and Cooper got to be good friends, so he was Papa's first and only choice to be Robert Jordan in For Whom the Bell Tolls.

The novel grew out of Hemingway's experience in the Spanish Civil War that raged for almost four years. A number of generals not liking the leftist trend the new Spanish Republic was taking pulled a military coup d'etat. The whole world took sides with the Soviet Union aiding the Republic's defenders and Italy and Germany aiding the Nationalist Generals.

The USA was officially neutral, but people had their opinions. Believe it or not many supported the rebelling generals seeing them as upholding traditional Catholic Spain. But some in America organized the Abraham Lincoln Brigade, a group of volunteers who fought for the Republic. Some in there were U.S. Communist Party members, but a whole lot were idealists. All of them had a lot of difficulty after World War II, for shall we say being to prematurely anti-Fascist.

Gary Cooper plays just such a volunteer and he's got a mission, to blow up a key bridge in the Guadarrama mountains. He makes contact with the guerrilla band of Akim Tamiroff and Katina Paxinou. Of course fighting with them is Ingrid Bergman, so we had some romantic interludes there which steamed up the screen.

This was quite a year for Ingrid, she did Casablanca as well that year and her name became synonymous with romance. She was not the first choice here. Director Sam Wood did not like his original leading lady Vera Zorina and replaced her with Bergman who he really wanted in the first place.

In fact Wood was a second choice. Paramount originally scheduled this film for Cecil B. DeMille. I'm betting there were some creative differences between DeMille and Papa Hemingway. If this had become a DeMille type film, it would have been a disaster.

Gary Cooper, Ingrid Bergman, Akim Tamiroff, and Katina Paxinou all got Academy Award nominations. Only Paxinou won the Oscar for this film. A great performance, but also probably a tribute to her refugee status. She had fled her native Greece when the Nazis took over where she was a leading member of their national theater. She accepted her Oscar in memory of her late colleagues there.

The only criticism of the film came from those that thought it lingered too long on Cooper and Bergman's romance. Something by the way they were having in real life as well.

But Ernest Hemingway liked the film just fine and I think most will as well.

Based in Ernest Hemingway's world famous bestseller, this film is one of those classical melodramas, even though not in a Douglas Sirk style and maybe of quite another matter. In the book, Hemingway worked up his own experiences in the Spanish Civil War of the 30s - the film was shot in the middle of World War II - and that is why certain things are plain "clear". Of course, the whole plot of the film takes place solely within the lines of the Republican forces. Of course, it takes an unequivocal stand against Franco's fascism and its followers. Of course, the male lead, an expert for explosives, is a sincere American who stands on the right side. But without any cynicism, For Whom the Bell Tolls is in an utterly positive sense straight, straightforward, "clear", or however you want to word it.

Sam Wood shaped the story through three strands: the love between María (Ingrid Bergman) and Robert (Gary Cooper), the preparations of a detonation and the conflict in the group with Pablo (Akim Tamiroff). Here, Wood presents a set of excellent characters. Pablo, brilliantly played by Tamiroff, as the most enigmatic of the ensemble, does not only bring trouble into the group, but also impersonates a man who is torn between friendship/solidarity and personal interest. Robert is a sober, prudential, reflecting man who knows what he wants, but sees danger in his love for María. He is not an ignorant macho, but someone who carefully listens, evaluates and then decides. And then there is Pilar, played by Katina Paxinou, this rough, angular, active woman with heart, a heart which is not only on the right place, but also has a deep feeling for what is going wrong in her country and what danger is coming up for her and her people if Franco might win the war. It seems as if Wood adapted a real and important protagonist of the Civil War with the character of Pilar: the Communist leader Dolores Ibarruri aka "La Pasionaria".

With this variety of human patterns, Wood gives us a cross-section through a small, "spatially limited" civil society where the story line can be interpreted in context to the events in 1943 in Europe. Hitler and his allies are at the high peak of their conquest- and extermination campaigns. In this respect, the film asks the question, how democracy is going to work after the terror is defeated, taking also those into account who are erratic and cowardly like Pablo. And it asks the question for consideration between betrayal and solidarity, love and necessity.