Le soleil se lève aussi

It was great to see 2 of Hollywood's film idols on a film together. Tyrone did look tired in this movie. Errol and Eddie Albert as two drunks were very funny. Tyrone, as always, was great as a jaded WWI veteran. Ava Gardner was also very interesting to watch and I thought she played her character very well. The bullfighting was very graphic for its time, however, the actor who played the bullfighter couldn't act.

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.

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.

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!

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...