In Fort Lamy, French Equitorial Africa, idealist Morel launches a one-man campaign to preserve the African elephant from extinction, which he sees as the last remaining "roots of Heaven." ... See full summary »
When the great potato famine hits Ireland, the diaspora begins as thousands emigrate. Among those leaving the Emerald Isle is Katie O'Neill and her husband, who decide that the promised ... See full summary »
An ex-soldier suffered some sort of injury to his genitals during World War I. Instead of going back home to the USA, he stays in Paris with several other wounded souls; some have been ... See full summary »
Three people, Susan and Philip Ashlow and Henry Brittingham-Brett are washed ashore on a deserted island after a shipwreck. Henry is Susan's lover. Since the island is filled with things to... See full summary »
Paris in the 1920s. The American journalist Jake and his friends spend the time at cafés. He has a special interest in his ex-fiancée Lady Ashley. They take a vacation in Pamplona to watch the bull-fights. Written by
The film received poor reviews due to the slow pace and the fact that all the stars were much older than the characters they played. See more »
This movie takes great care to copy the women's fashions of the '20s. The outfits of the men, on the other hand, look very '50s; even the Spanish military uniforms at the Pamplona sequence are not quite right for the '20s. See more »
This was made in 1957, when Ty Power was 43, and getting a bit dull and paunchy. The whole cast was a mite ripe for the film. If the same cast had made it ten years earlier, it would have been a real treat.
Problem is, in 1947, none of that cast had put themselves through enough agony to convey the world-weariness of Hemingway's 20-something crew. Power was still a one dimensional pretty boy, although morphing into a real actor with films like Razor's Edge and Nightmare Alley; Ava Gardner was a slick chick on the MGM lot who had been married to Mickey Rooney, but otherwise didn't have a lot of movie experience. Errol Flynn was deteriorating noticeably, but hadn't acquired the self-knowledge he demonstrated in The Sun Also Rises.
If the Cast of '57 could have conveyed their panache in '47, it might have worked really well. As it is, only Flynn really rises to the occasion. Ironically, he steals the film in a distinctly supporting role. He is the only one who captures the tragedy of a misspent life - the others just seem cranky and self indulgent.
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