Zwischen Madrid und Paris

There are several films from the '40's to the '60's that I prefer to experience, rather than jump into Pauline Kael's skin. Let her successors dissect and occasionally say something of pith.

George Herbert said, "Time is the rider that breaks youth."

All the principal characters in this sad tale are broken. In their dissipation and aimless, joyless pursuits, they didn't stand for much of anything. It has been said that the cast was just too old for these roles. But they looked perfect for their roles, a group of people who were caught in a tepid tide pool, waiting to be washed out to sea. They were all tarnished goods.

I was especially impressed by Errol Flynn's performance. Of all of them, he was the most pitiful. Remember the song, "Tired of living and scared of dying?" That's him-a far cry from Captain Peter Blood.

Next is Robert Cohn (Mel Ferrer). He was a rich aimless child, eager to fasten himself to others, like a limpet. College had done nothing for him, except to make him an even greater useless snob. Then Lady Brett transformed him into a swine before casting him aside, because 'she couldn't stand his damned suffering.' After a crushing defeat at the hands of Brett and her bullfighter, he wisely headed home to Frances, if she would still have him.

Now we come to Jake and Lady Brett Ashley. These two truly loved one another, but in a very unhealthy way. She lost a husband to the Great War and never recovered. He gave "more then his life" to the war. His impotence was probably not the real reason Brett would not marry him, nor he, her. Damaged goods.

This film is excellent. Important, as is the book, emotional Tours De Force. Hemmingway is incredible.

This is a ploddingly slow movie that has some nice action sequences thrown in, and some fun humor, but the funniest parts are the close ups of Pedro the matador during the last bull-fight. (Other reviews have addressed the main cast well-enough).

I doubt there has ever been a matador as miscast as this one. He neither looks nor acts like one - although in his defense, he appears to be trying really, really hard to look important. His expressions are priceless, with that shiny face, and the band-aid. Very funny. I wondered who it was, but as the cable channel didn't run any end-credits, I looked him up here in IMDb. Turns out it was Robert Evans.(?!) At least it's clear now why he turned to producing...

I've always loved this book. I saw this movie the last time when I was in a college Literature class. My memory was that it was a Cinemascope film on a conventional screen. When Tyrone Power got into bed, the bed was about three feet long, as was his body. Anyway, I now remember that this is pretty much a dull film. It is talky and not very well edited. While the bullfight scenes were interesting, they were narrated by Power so we would know what was going on. The one thing that was personal is Ava Gardner. I couldn't take my eyes off her. Especially when she was in her party girl mode, she is utterly striking. I also enjoyed Errol Flynn, the Hemingway of the story. His character has some life. Power as Jake Barnes is a limp fish in this one. He is so laid back that he wet-blankets every scene. Of course, a war injury has left him impotent and he will never have Lady Brett. This sad fact is there in the beginning and everyone knows, so he has pretty much given up. There are a couple times when he thaws out, but it is hard to feel a lot of sympathy for him. In the book, he is portrayed in such sad terms. I'd forgotten that Robert Evans played the bullfighter, Romero. I am haunted by his cockeyed look as he peers into the crowd. It is the strangest look. One thing that does come out of this is that I have decided not to become a bullfighter anytime soon. This film hasn't been available for a long time, so when it was released, I got it right away. It was just out of curiosity and I have to admit I was disappointed.

THE SUN ALSO RISES was 20th Century Fox's big-budget 'prestige' film for 1957, based on one of Hemingway's best-known novels, shot on location in Paris and Mexico (substituting for Spain), and starring the studio's long-reigning superstar, Tyrone Power, surrounded by some of the screen's most legendary actors (Ava Gardner, Errol Flynn, Mel Ferrer, and Eddie Albert). With all the talent assembled in front of and behind the camera, producer Darryl F. Zanuck felt confident that the film would be an enduring classic for both his own independent company, and his studio.

It wasn't, unfortunately...

The problem with the film was a fundamental one; the 'Lost Generation' Hemingway wrote of were disillusioned young Americans, who, shattered by the horror and brutality of a meaningless 'Great War', lost their innocence, and became a 'live fast, die young' crowd of expatriates, settling in Paris. These were men and women in their twenties and thirties...yet the actors chosen to portray them were all ten to twenty years older! The most glaring example of this can be seen in the film's star, Tyrone Power. As newspaperman Jake Barnes, a vet whose war injuries render him impotent, unable to satisfy the woman he loves (Ava Gardner), and, therefore, the 'perfect' observer of his love's romantic entanglements with other men, Power seems more a victim of a midlife crisis than a young man devastated about losing his manhood. In his next-to-last film, Power, at 44, was aging badly, his hair thinning and his slender, 'movie idol' good looks surrendering to a middle-aged paunch. Only when he smiles do the years seem to lift, a bit, and a ghost of the "too handsome to be true" younger man appears. Adding to his physical deterioration was an undiagnosed heart condition, which would kill him, in less than two years.

His co-star, Ava Gardner, at 35, was going through a decline, as well, but, as with her character, Lady Brett Ashley, her vices were the cause of her self-destruction. Both Brett and Ava were hedonistic women too fond of booze, bullfighters, and nightlife, and in Ava's case, once-classic features were beginning to develop bags and wrinkles that makeup and lighting couldn't hide. Seeing Power, Mel Ferrer, Flynn, and young future film mogul Robert Evans (as a bullfighter), all lusting after her can lead a viewer to wonder if the War had impaired everyone's eyesight, as well as their judgment!

Coming off best are Errol Flynn and Eddie Albert. Flynn, at 48, long past his 'glamorous' prime (he and Power had been Hollywood's best-looking 'swashbucklers' of the early 40s), had become a very credible character actor, usually portraying variations of himself. His 'Mike Campbell', an alcoholic who is impoverished but still clinging to his pride, was, sadly, a dead-on assessment of Errol Flynn, as well. Like Power, he would be dead in two years, a victim of his own excesses. On the other hand, Eddie Albert, at 49, had long been health-conscious, and his performance as a drunk was simply good acting; paired with Flynn, they 'steal' the film, particularly during the famous Pamplona bull run, when the duo flee for their lives (while guzzling wine), and Flynn attempts to use a bad check as a cape to 'fight' a bull!

The drama seems overdrawn, the romance lacks 'fire', and the resolution is a hollow one. Even with the pretty scenery, Hugo Friedhofer's soaring film score, and Henry King's skill as a director, THE SUN ALSO RISES fails to generate more than a curiosity value, at the sight of so many actors, past their prime, trying to seem youthful and dynamic.

The studio just released the film on DVD; seeing photos of Power, Flynn, and Gardner between takes, and hearing director Henry King's audio reminiscences of the production are possibly more entertaining than the feature, itself!

Two insurmountable problems keep The Sun Also Rises from being a great film classic. The first was the ever present Code which prevented the frank discussion of impotency and secondly the fact that the cast was 15 to 20 years older than the roles they were portraying. Maybe had the film been identified as 1932 instead of plainly set in 1922 Tyrone Power, Errol Flynn, and Ava Gardner and the rest could have gotten away with those performances. The pity is that they all try very hard under an impossible burden of age. They would have been a dream cast around 1946. Ironically this cast is a lost generation unto itself.

Tyrone Power is in the lead as Jake Barnes, the hero modeled after author Ernest Hemingway himself. Barnes received a war wound below decks just as Hemingway did in World War I. The close brush with impotence himself no doubt inspired Hemingway to write The Sun Also Rises. That fact has kept him from resuming a relationship with the love of his life, Lady Brett Ashley as played by Ava Gardner.

As a jaded sophisticate Gardner is great, but Hemingway again wrote about a lusty young woman with all her sexual appetites intact and unfulfilled. All Power can do is watch how she collects the men around her.

And they do flock be it, exiled Count Gregory Ratoff, dissolute British army veteran Errol Flynn, self conscious Jew Mel Ferrer, and eager young bullfighter Robert Evans. None of them measure up to Power, but Power can't give the lady what she most needs.

The location cinematography is great from Paris to Mexico which substituted Spain for the famous bull fighting scenes and the annual running of the bulls in Pamplona. I'm guessing that Henry King did not film in Spain because the Franco dictatorship did not want a film that glorified the days before his dictatorship even under the monarchy which Franco swore to restore. Ernest Hemingway being a veteran for the Republic was also not an author looked kindly on by the Caudillo.

Ernest Hemingway has had accusations of anti-Semitism hurled at him and no doubt because of the way Mel Ferrer's character of Robert Cohn is written. Cohn has sustained a lot of prejudice in his life, he became a boxer in college to help deal with it. He's also a bumptious sort, Power tolerates him even likes him on a certain level. The others in the group make it plain every way they don't want him around. But he's under Gardner's spell and there's no talking to him. In many ways Mel Ferrer does the best acting job in the film.

The Sun Also Rise marks Power's farewell film at the studio which carefully nurtured his stardom, 20th Century Fox. It also was his ninth and last film with director Henry King. It was at Fox where Power got his breakthrough role in Lloyd's Of London, also directed by Henry King. They had quite a screen partnership themselves and are rarely discussed as a director/actor team.

This is one film that could stand a remake, but where could you get a cast as classy as this one today even if they are a generation behind to be making The Sun Also Rises.