Il sole sorgerà ancora

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.

"The Sun Also Rises" is a cinematic adaptation of Ernest Hemingway's iconic novel of the same name, capturing the essence of the Lost Generation amidst the post-World War I disillusionment. Released in the 1950s, the film remains a poignant exploration of love, friendship, and the search for meaning in a world scarred by war.

Directed by Henry King, the film transports viewers to the picturesque landscapes of Europe, particularly Spain, immersing them in the bohemian lifestyle of its characters. The narrative revolves around a group of expatriates, including the disillusioned journalist Jake Barnes, the enigmatic Lady Brett Ashley, and the tormented war veteran Robert Cohn. Their journey unfolds against the backdrop of the Pamplona bull-running festival, serving as a metaphor for the recklessness and vitality of youth.

Tyrone Power delivers a compelling performance as Jake Barnes, effectively portraying his internal struggles and unrequited love for Lady Brett Ashley, played with captivating allure by Ava Gardner. Their tumultuous relationship forms the emotional core of the film, highlighting the complexities of desire and the inability to find fulfillment in a fractured world.

The supporting cast, including Mel Ferrer as Robert Cohn and Errol Flynn as the charismatic Mike Campbell, adds depth to the ensemble, each character grappling with their own existential crises and yearning for a sense of purpose.

Visually stunning and atmospherically rich, "The Sun Also Rises" captures the essence of Hemingway's prose, evoking the hedonistic spirit of the Roaring Twenties while also delving into the profound sense of loss and disillusionment that pervades the lives of its characters. The cinematography beautifully captures the sun-drenched landscapes of Spain, juxtaposing the beauty of the surroundings with the characters' inner turmoil.

While some critics have noted deviations from the novel and a certain lack of depth in character development, the film remains a poignant meditation on the human condition, offering insight into the complexities of love, friendship, and the search for meaning in a world overshadowed by the specter of war.

Overall, "The Sun Also Rises" stands as a timeless cinematic exploration of Hemingway's themes, offering a compelling portrayal of a generation grappling with the aftermath of war and struggling to find meaning in a world devoid of certainties.

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...

In Hemingway's novel the characters are in their mid to late 20's with one in their mid 30's. The movie clearly has actors in their mid 30's to their 50s. They look like middle aged adolescents with too much money and time on their hands not a young post WWI generation.

Hemingway's great novel "The Sun Also Rises" has three layers to it. On the surface it is about the lives, adventures and falling out of a group of American and British expatriates in France and Spain after World War 1. At a second level there is a subtext running throughout the book about the search for meaning and authenticity in the aftermath of that horrendous war. And thirdly on a literary level there is the revolutionary style of Hemingway's spare prose where so often less is so much more. This film adaptation unfortunately only addresses the surface level – it is arguable whether any film adaptation could embrace all three. How does it rate on its limited scope? Only Errol Flynn as "Mike Campbell" captures the essence of the book character : bankrupt, dissolute, pathetic but still somehow endearing. His model in real life was dead within a decade. Tyrone Power as the protagonist "Jake Barnes" is stolid but unmemorable. Ava Gardner should be ideal as the reckless liberated 20's female "Brett Ashley" but the film fails to provide sufficient back story to explain her promiscuous dissolution and Gardner does not really convince in the role. Eddie Albert fails to project sufficiently the good-natured ebullience and intelligence of Jake's friend "Bill Gorton". Finally Mel Ferrer is merely adequate as "Robert Cohn" who triggers much of the falling out of the group in Spain. Overall this is a disappointing attempt to film what is probably an unfilmable novel. See it to watch Errol Flynn in one of his finest roles.