Hemingway & Martha

Nice Movie, and excellent performance by all the actors, and Nicole Kidman is another story, i was stunned by her performance, i mean she is a really talented actress, and she keep impress me say after day, so i think she deserve an EMMY, specially for the older Galhorn part. its a bit long but not boring so it was a movie to watch. And Clive, he was good. and Rodrigo and all of the other actors. Lars Urich of Metallica surprise me so much. I think Kaufman deserve a life time achievement award for his life work, and i think the film should get more high rates. so i advice everyone to watch it, because it talks about two important American literatures.

A truly miserable film that trades in posing, overacting and phony' hyperdramatic lines. It is Insipidly researched: a five-minute read of Wikipedia may seem adequate to the badly underdeveloped, but why would they be the audience for a film like this. It is clunkily written, in dialogue and in its scenarios. The film is unfair to Hemingway, reducing him to a loud bully conspicuously and constantly panicked about his manhood and ignoring the balance of his life and personality. It is unfair to dos Passos, portraying one who saw much combat and who was regularly passed over for literary prizes because of his conviction. making him appear to be a weak and feckless hanger-on. It is also unfair to Gellhorn, who was a truly great war correspondent.

The actor Clive Owen is quite an unfortunate choice to play Hemingway. Owen never sounds appropriate.

The film's author seems to have a grudge against Hemingway, too.

This seems aimed at no one past a high school freshman level. In fact, it seems to be written by three or four of them, and directed by the least tasteful of the group.

Is American movie-making deliberately getting dumber or are such movies just negligent.

Good try at combining a study of complex people and a look at the completely incomprehensible war torn twentieth century experienced first hand by the famous authors. Not an easy assignment.

The suffering of the ravaged and the slaughter of the human race and the love of two volatile writers are given equal time but the subjects are heavy and elusive at best.

The best one can hope for is a film worthy of the fight against Fascism (that could destroy the spirit in the best of us) and hold our interest in these two interesting people.

Still some insight about journalistic war time coverage comes through and there is some good use of cinema tricks and smooth transitions that helps move it all along at an entertaining clip.

Philip Kaufman who directed this long and boring mess of a film knows better (The Unbearable Lightness of Being, Twisted, etc) and the idea of reflecting on the relationship between Ernest Hemingway and Martha Gellhorn which took place during so many important historical events (Spanish Civil War in Franco's Spain, WW II complete with the Allied Invasion of Europe at Normandy Beach, the Russian Invasion of Finland, the turmoil in China as Communism rose in reaction to the Japanese invasion, the strange position of Cuba in all of this). But the screenplay is so mediocre to very bad (screenwriters Jerry Stahl and Barbara Turner) and the level of acting is so superficial that it simply falls flat.

Martha Gellhorn, the Collier's reporter who becomes a war correspondent and marries Ernest Hemingway as she travels up the ladder of fame, is by far the main character here. A very well made-up aged Martha (Nicole Kidman) opens the story as she is being interviewed for a TV program. We immediately are in flashbacks to how this stern woman met Hemingway in a Key West bar, matched him quip for poorly written quip and finally follows him in a very phony setup: Hemingway (Clive Owens in a shoddy performance) is traveling with John Dos Passos (David Strathairn), Spanish patriot Paco Zarra (Rodrigo Santoro) and crew to shoot a film by Joris Ivens (Lars Ulrich) to show the public the atrocities of Franco in the Spanish Revolution - a tiresomely overused gimmick. Everyone drinks a lot and Hemingway finally seduces Gellhorn to his bed in Madrid (he is currently married to the very Catholic Pauline (Molly Parker) who upon discovery his adultery refuses to divorce him). As the situation in Spain falls down, Hemingway and Gellhorn take their need to write - Hemingway to complete FOR WHOM THE BELL TOLLS and Martha flies off to various war fronts to be a war correspondent. Together they fight their way through experiences in China and other hot spots until ultimately Hemingway remains drunk in Cuba 'fighting off German U boats' and Gellhorn gives up on him.

Nicole Kidman gives the only remarkable performance; Clive Owens could have phoned in his role. Others in the huge cast of miniscule parts are Robert Duval , embarrassingly bad as a Russian General, Joan Chen as Madame Chiang, Tony Shalhoub as the Russian spy Koltsov, an excellent Santiago Cabrera as the famous war photographer Robert Capa, Peter Coyote (don't blink), Diane Baker, Parker Posey, and Connie Nielsen. The film runs 2 ½ hours on HBO and could easily have been edited down to an hour and a half. The only real saving grace (meaning the only reason to watch it0 is the very artistic way the film is a blend between contemporary cinematography and real film footage from the events in the story. That part is Magical. Otherwise, this is a snooze fest.

Grady Harp

I was really disappointed in this movie. The build up and anticipation for it was great. I had high expectations. With Clive Owen and Nicole Kidman leading the charge, it was Kaufman's to screw up, and screw it up he did.

The characters were shallow, but they fit right in with the ankle deep script. I thought the historic film gimmick was overplayed and laughable at times. Clive Owen tried his hardest to bring life to Stahl and Turner's straw-man. Hemingway never had any real motive and when it appeared that he might, it was abandoned. Nicole Kidman did a fine job as well, but it had to be long days and frustrating nights with the stiff dialogue. The supporting cast was lifeless, filled with assumptions, and caricatures of an era. Watching this film was like watching an artist that promised to paint you a masterpiece then he pulled out a mop. This was sloppy film-making and it started with the script and ended with the director. A poor showing for such a rich subject.