Les racines du ciel

THE ROOTS OF HEAVEN, John Huston's 'Save the Elephant' African drama, based on Romain Gary's ponderous novel, was a costly, torturous misfire about which even Huston himself had little positive to say ("The pictures that turn out to be the most difficult to make, usually turn out to be the worst - like ROOTS OF HEAVEN.") While the story, of an almost fanatical idealist and his international band of rag-tag followers, fighting against the poachers who were hunting the species to near extinction, was a timely one, the production suffered so many calamities and setbacks that what finally reached the screen bore little resemblance to the initial concept. But what a back story it had!

Originally intended to star was William Holden, who was, in real life, an impassioned activist concerning Africa and it's wildlife. With Holden and Huston attached to the project, an all-star supporting cast was easily recruited, including Errol Flynn, Eddie Albert, Orson Welles, Paul Lukas, and Darryl Zanuck's newest 'protégé', Juliette Greco. Then Paramount politely informed Holden that he had unfulfilled obligations to the studio, and they would not release him to make the 20th Century Fox production. With the other talent under contract, and an inflexible location 'start' date, Fox faced the dilemma of no acceptable 'leading man' being available at short notice...and ended up casting British character actor Trevor Howard in Holden's role. Howard, however, had no 'marquee' value, so Errol Flynn, in a decidedly secondary role, found himself the 'star' of the movie!

Huston arrived in Africa with Darryl Zanuck (the often jealous producer may have been a bit nervous having Juliette Greco working with world-class lotharios Huston and Flynn), and the 140-degree inferno quickly took a heavy toll on the cast and crew. Eddie Albert collapsed with sunstroke, and everyone except Huston and Flynn, who had each brought prodigious amounts of alcohol to consume, were soon suffering from amoebic dysentery. With the frequent production delays, Huston went big-game hunting, and philosophized to the world press. Flynn and Huston, both larger than life personalities, started arguing on set (considering the quantity of alcohol they consumed, it was not surprising!), and Flynn dared the director to fight him. While it might have been an interesting contest, twenty years before, when Flynn was in shape and a talented amateur boxer, he was long past his prime, and Huston, who had actually been a professional boxer in his youth, flattened the actor with one punch.

It was NOT a happy production!

The end result of all the suffering was a film that lacked cohesiveness, with unresolved subplots, and poorly defined characters. Huston would move on to a western with Burt Lancaster and Audrey Hepburn, THE UNFORGIVEN; Zanuck dumped Greco and began preproduction on his epic, THE LONGEST DAY (featuring NEW 'protégé', Irina Demick); and Flynn, after a brief recurrence of malaria, would produce and star in the abysmal CUBAN REBEL GIRLS, and would be dead in less than a year.

THE ROOTS OF HEAVEN was a disaster, for all involved!

This was an excellent film based on my all-time favorite novel of the same title. Both novel and film were ahead of their time in their concern for the fate of the African elephant specifically and the sustainability of the earth generally. The cast was superb; Trevor Howard and Juliette Greco were perfect. (But then, so was everyone else involved.) An important theme in both novel and film was the tendency for others to analyze Morel's motives through their own eyes. Thus some thought him politically ambitious, some supposed that he detested humankind, and others found other motives. I believe his actual motives were purer, simpler, more altruistic, and altogether as he stated them. I would like to have used this film in my university classes, but like an earlier reviewer I regret that it was not possible to find it. That's a great shame.

Given the apparent unavailability of the film, I highly recommend the book - if you can find a copy! Occasionally I have challenged bright students to tell me why the character Father Tassin is so interested in learning everything he can about Morel. To help them, I have lent them not only the novel but a short book about the real-life "Tassin." One or two succeeded in making the connection and thus understanding the work at its most profound level. And it truly is profound, once you understand that connection.

Incidentally, author (and screenplay writer) Romain Gary lived an adventurous, unique life which made him just about as interesting as Morel. War hero, winner of France's highest military and literary honors, literary prankster, tragic political victim, and much more.

It's about an ex-soldier, Morel (played by Trevor Howard), who has come to Africa to protect elephants against extinction. He sees them as noble animals and as 'roots of heaven', that is creatures made by God. First, no one is on his side, but later he manages to find some supporters. The authorities are after them, and they also have to defend themselves against some hunters who want to kill a large herd of elephants.

It was interesting to see how and for what motives some of the characters change their attitudes towards Morel. Some of his pursuers stop pursuing him or even start to help him, and some of his followers leave him and take part in hunting the large elephant herd. I found the character Waitari, an African freedom fighter, to be especially interesting. He has many difficulties. The French colonial authorities are after him, he wants to protect the elephants because they are a symbol of African freedom, he needs money for weapons, and he has to try to control his followers, who want to start an armed fight against the French although it is (probably) too early for that.

At first I didn't like Morel very much. I thought that the priest was right who scolds him for loving animals more than human beings, who need help more than animals. (And as far as I know elephants can be very dangerous. I've seen a documentary about that. When you are in a forest that they see as their territory (that you have trespassed on), they first approach you, and you can't hear them because their feet are so soft. Then they grab you with their trunks and hurl you through the air. A few people die that way every year.) But later in the movie one learns how Morel came to love elephants so much: he was a soldier in WW II, and during the years he had to spend in a prison camp, he read books about elephants. They became a symbol of freedom for him. So I understood and liked him better, and there's nothing wrong about protecting animals anyway (although I think that fighting hunger in the world is still more important.) Plus Howard acts really well in my opinion.

The main reason I watched this movie is that I have been a fan of Errol Flynn ever since I first saw him in 'The Sea Hawk'. In this one, he gets top billing, but he is a supporting actor only. (As I've said before Trevor Howard plays the hero, but the producers probably thought he was not famous enough to get top billing). I think his acting is good. But I think some scenes were very easy to play for him anyway; he plays an alcoholic, and in some scenes he looks as if he was really drunk (when he arrives, with Greco, at the tribal village). (That's what's called 'method acting' ;)

I also usually like films starring or directed by Welles or Huston. Welles only has a small part and I think he overacts, but that doesn't matter because he is really funny in my opinion. The direction is mostly good, as far as I can tell, but some of it could have been done better: there are some long shots of elephants that don't seem to fit in very well with the other shots. Or is this perhaps the editor's (not the director's) fault? I don't know. (There are also some blue-screen shots that don't look very good.)

All in all, I really liked this movie. I think it has some minor flaws, and I didn't like it as much as, for example, 'The Sea Hawk' and 'The Maltese Falcon'. But, as I've said before, I liked both the story and the actors, so I have given this one eight points. I also liked the music (by Malcolm Arnold).

If you like this one you might also try 'White Hunter Black Heart'. It stars Clint Eastwood as John Huston (although he's called 'John Wilson'). I liked it, too, but I liked 'The Roots of Heaven' better. And if you also find the character Waitari interesting, try 'Queimada'. It has a similar character and he's more central to the story. It's not as unknown as 'The Roots of Heaven', but still rather unknown, which is a mystery to me. It stars Brando, has music by Morricone, is directed by Gillo Pontecorvo (of 'La Battaglia di Algeri' fame), and, most importantly, its story is extremely interesting in my opinion.

Based on a novel by Romain Gary (who was Jean Seberg's husband ;she was the star of one of his obscure works "Les Oiseaux Vont Mourir Au Pérou" ),"Roots of Heaven " is generally dismissed ,even by Huston's buffs.And nevertheless....

It was an ecological movie,at a time it was not trendy :as Nicholas Ray ,at about the same time,was filming "wind across the everglades" ,a heartfelt plea for the defense of Florida 's wildlife,Huston did the same for the elephants ,victims of the poachers .THe odd couple,who is one of Huston's recurrent features is present:Morel ,who is championing the elephants cause ,is joined by a prostitute (played by glorious actress/chanteuse Juliette Greco).

"Roots of Heaven" was a definitive improvement on "the Barbarian and the Geisha " and paved a reliable way to works to come such as "the unforgiven" , "the misfits" and the highly superior "Freud" and "Night of the Iguana" .This is an overlong movie,but even if it cannot be ranked among the director's best ,it's worth at least a watch .

"Turgid philosophising"... "raddled Flynn"... no-one seemed to have a good word for this film, known chiefly for the number and variety of ailments suffered during its filming, and I certainly wasn't expecting much.

Nobody told me "The Roots of Heaven" could be funny.

Nobody told me the script was ironic and self-aware, knowing what to say and what to leave unspoken and when to wear its passion on its sleeve with the straightforward and very English eccentricity of its leading character; tinged with idealism, with heroism, and with cynicism alike. No-one ever mentioned, oddly enough, that there were even any environmentalists in the 1950s -- with uncannily accurate prescience, the plot even ties in the anti-nuclear cause. Greenpeace would have had a retrospective field day!

And as for Flynn, he is having the time of his life stealing every scene he is in, whether with a quizzical eyebrow or a moment of sudden intense sympathy; the part is a gift, but he makes it something more, with the old expressiveness that always underpinned the laughter and heroics of his days as Warner Brothers' leading man. His late-career performance in "The Sun Also Rises" (which, for my money, really is turgid philosophical stuff) has been proclaimed as 'Oscar-worthy' by those eager to prove he had straight acting talent, but to my mind he shows greater depths here.

Trevor Howard is the undoubted star, carrying much of the film single-handed. He is superbly convincing in the linchpin role of the Englishman who sets out on an unfashionable one-man crusade, and -- in a tale whose wry sensibilities would not be out of place at Ealing Studios -- finds himself inadvertently the victim of human nature's instinct both to canonise and to desecrate. The character has convictions, but he is neither unworldly nor a fool, and Howard makes us believe against the odds that this unassuming type can change people. His performance is absolutely central to the film's credibility, and he makes Morel not only believable but likable.

The main flaws of which I was aware are the way that several strands seem to disappear abruptly unexplained at the ending (what of all those journalists who were about to arrive? What of the American's photographs, surely valuable evidence?) and a handful of blue-screen shots against poorer-quality backgrounds that are very obvious when viewed at cinema scale -- it might have been better to have used quick cuts back and forth between the characters and the action, rather than attempting to project them into the picture.

So far as the overall standard of the film was concerned, however, I was extremely favourably surprised; I've seen several turgid, would-be meaningful African epics, and this certainly isn't one of them. Intelligent, humorous, lightly ironic, but also genuinely stirring and mythical, the end product may have disappointed John Huston, but it was far better than I had been given -- even by the cinema's own programming material! -- to expect.