The Pride and the Passion

During the Napoleonic Wars, British naval captain Cary Grant and Spanish freedom fighters Sophia Loren, Frank Sinatra and a real cast of thousands try to keep an enormous cannon from the evil French occupiers. Lots of impressive scenes with hundreds and sometimes thousands of extras and lots of mules and rope to pull that gun over the countryside with the French Army in hot pursuit. The movie is visually impressive; a knife fight amongst windmills, great battle sequences, large epic shots of hundreds and thousands of people all set against the beautiful Spanish landscape (where the movie was filmed). The problem is the actors. Grant is the best, but too stoic; Loren is beautiful, but too fey; and Sinatra is just miscast, his Spanish accent awful and totally unbelievable as the passionate Loren's love interest. Worth watching for the spectacle and the great scenes and scenery, but the personal soap opera between Cary, Frank and Loren puts a damper on the fun. I wish another actor had played Miguel, Sinatra's character - how about Anthony Quinn, Ricardo Montalban, Fernando Lamas, or even mature character actors like Cesar Romero or Gilbert Roland? I could never believe Sophia was interested in Frank.

The good news is the beautiful photography, and the beauty of Sophia Loren. A bit like Raquel Welch but in an earlier era, she doesn't have to be that great at acting to be eminently watchable. Learning she made $200,000 for this movie is completely believable. But the most outstanding aspect of this movie is in the negative - how patently ridiculous Sinatra's absurd Spanish affect and wig are. He doesn't bring it off in the slightest. He brings a rather farcical component to the project. One almost wonders why the director accepted some of the scenes as the final print. He may have been running out of daylight and had to move on, and couldn't afford to be too much of a perfectionist.

This 1950s movie epic was not a hit, but had a particularly superduper superstar set of headliners, Cary Grant, Frank Sinatra and Sophia Loren. Sinatra was seriously miscast as a firebrand Spaniard fighting valiantly against Napoleon's armies in 1810, and Grant also seems out of place, but otherwise it is still an impressive big-budget production for its day.

For me, Sophia's sexy flamenco dance showcase early in the film easily upstages the huge gun our heroes are dragging along 1,000 kilometers of Spain to do battle at Avila. The movie was obviously the inspiration for the 1966 "Combat!" episode titled "The Gun".

Main problem here is that the screenplay by Edward Anhalt, working with his wife Edna Anhalt, is simply not compelling, especially considering his work on many great movies ranging from "Becket" to "Hour of the Gun".

Producer-director Stanley Kramer has become, in recent decades, demoted to relative obscurity. Currently his major works, movies with serious messages, are of no interest, while his contemporary Kubrick is often considered the greatest of all time, and the work of his current counterpart Ridley Scott is laughably overrated. I chalk it up to the preference by both critics and audiences for style over substance.

Stanley Kramer's second directorial effort,THE PRIDE AND THE PASSION, gave him his first opportunity to create an epic, involving a cast of thousands against a backdrop of 19th century Spain. A tale of heroism, dogged determination, and sacrifice, the production reunited him with NOT AS A STRANGER co-star Frank Sinatra, along with international sex symbol Sophia Loren and screen legend Cary Grant. The three leads were to provide a romantic triangle that would add a 'human' element to the story of a massive cannon's journey to crush the 'impregnable' walls of French-occupied Avila. It was an ambitious endeavor for veteran producer Kramer, as his directorial debut, NOT AS A STRANGER, had been panned as nothing more than a glorified soap opera, criticized by reviewers for the miscasting of Robert Mitchum in the lead.

Miscasting would be a major criticism of this production, as well...along with the ponderous, overlong plot, occasionally sappy dialog, and lack of believability in the romance between the leads.

If only Kramer had filmed the action occurring 'off the set', which was FAR more spectacular...

Frank Sinatra had taken the role of the guerilla fighter, Miguel, simply to be close to his estranged wife, Ava Gardner, who was also in Spain, filming THE SUN ALSO RISES. He was well aware that his attempts at a Spanish accent would be the butt of many jokes, and he disliked the tedious production, anyway, especially as his co-star, Cary Grant, preferred multiple 'takes' of each scene (Sinatra was a 'one-take' actor, who believed in 'saying it all', the first time). As the production dragged on, with the movement of thousands of extras creating long waits between set-ups, Sinatra grew increasingly surly, and would often disappear to be at Gardner's side.

Cary Grant, at 53, coming off the classic AN AFFAIR TO REMEMBER, hated 'period' pictures and costumes, but was grateful to be away from America and his crumbling marriage to Betsy Drake. He was lonely and unhappy, however...a situation that would change dramatically, as he got to know Sophia Loren. The voluptuous 23-year old Italian actress, who had just exploded onto American screens in BOY ON A DOLPHIN (standing in trenches to accommodate her much shorter co-star, Alan Ladd), was earthy, passionate, and single, although romantically involved with director Carlo Ponti, the man who 'discovered' her, for several years. But Ponti was in Italy, had refused, as yet, to marry her, and Loren was working with an actor she had idolized since childhood...and the pair were soon having a tempestuous affair off-camera, as Grant fell madly in love with his young co-star. He proclaimed that he would marry Loren, as soon as filming was completed, and he could get Drake to file for divorce.

The announcement did NOT sit well with Carlo Ponti, who arrived as filming wrapped, acknowledged to Loren that he loved her, and wanted to marry. The actress contemplated both proposals, finally choosing Ponti, as she knew the depth of his feelings, and was well-aware of Grant's lousy track record as a husband.

Ponti married Loren in Mexico (and, in a bit of irony, was accused, five years later, of bigamy, as it turned out he was still married to another woman, at the time!), and Grant, heartbroken, would end up making a romantic comedy (complete with a wedding scene) with Loren, a year later, in their next film together, HOUSEBOAT.

The firings of the giant cannon at the climax of THE PRIDE AND THE PASSION couldn't match the explosiveness behind the scenes!

I was a bit more than a kid when I saw "The Pride and the Passion" for the first time in theatres back in the late 50's and I remember I thought it was kind of slow and even boring at times. But then I saw it again not long ago and surprisingly -because it usually goes the other way around- I found it a watchable and sort of interesting epic spectacular in the times when Napoleon ruled in Spain.

Though "The Pride and the Passion" doesn't match in my opinion other directing works of Stanley Kramer such as "The Defiant Ones" or "Judgment at Nuremberg", this film has a sort of heroic and epic that reaches a reasonable level. It has well dosed and skillfuly handled action sequences, wide open sceneries in Spain, good color photo and a very appropriate musical score that gives it a sense of greatness. However I still think it could have been a bit shorter and that would have improved the product.

Cary Grant renders a very convincing performance as the British officer that knows how to shoot the huge cannon; Sophia Loren is good too and Frank Sinatra, if not brilliant whatsoever, comes out acceptably as an Spanish "guerrillero" leader and by the middle of the film you get used to him.

Not a classic or even a classical late 50's or early 60's epic spectacular "The Pride and the Passion" is an acceptable historical action film worth a watch.