Lincoln, who's not yet 18, leads a straight life most of the time: he has a girl friend, goes to dances, jokes with guys. But he also has a secret life, in which he's drawn to dark places ... See full summary »
The Runeberg family is an ordinary middle class family, with a house in a suburb, a car and three children. By vacationing in a rented house by the sea, the hope is that the tension and ... See full summary »
Spain in the 1930s is the place to be for a man of action like Robert Jordan. There is a civil war going on and Jordan who has joined up on the side that appeals most to idealists of that era -- like Ernest Hemingway and his friends -- has been given a high-risk assignment up in the mountains. He awaits the right time to blow up a bridge in a cave. Pilar, who is in charge there, has an ability to foretell the future. And so that night she encourages Maria, a young girl ravaged by enemy soldiers, to join Jordan who has decided to spend the night under the stars.Written by
Dale O'Connor <firstname.lastname@example.org>
On the dawn of the second day (at around 43 mins), as Jordan is waking up, a large metal fan can be seen spinning on the left. See more »
Are you afraid?
Not now. I love you, Roberto. Always remember. I love you as I loved my father and mother, as I love our unborn children, as I love what I love most in the world, and I love you more. Always remember.
Nothing can ever part us now, can it?
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Opening credits prologue: any mans death diminishes me, because I am involved in Mankinde: and therefore never send to know For Whom The Bell Tolls It tolls for thee.
I have read most of Hemingway's novels and enjoy him for the romantic he is (why is it some people view him as a realist?). However, when I see this film, as well as the Tyrone Power version of THE SUN ALSO RISES, I am left wondering if the problem with Hollywood adaptations of his work was that they were TOO faithful. That's right, all you Hemingway lovers: too faithful. The man's dialog works on paper, but when spoken by the actors--good actors at that--it becomes downright silly.
Hemingway once wrote a play, THE FIFTH COLUMN, that was snickered by theatre-goers in 1937. He learned his lesson and never wrote another play. Some of the Hollywood scriptwriters might have also learned, if not from the reviews of THE FIFTH COLUMN, at least from the film of THE KILLERS: the best way to adapt Hemingway is to steer away from his dialog, not stick so close to it.
That said, I must confess I enjoy this film like the others...though I can't help but chuckle at it sometimes.
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