It makes you realize how a war can seem endless and how
love can endure; the film, unfortunately, outlasts both.
If Agnes von Kurowsky, the 26-year-old American nurse who
attended to 18-year-old Ernest Hemingway's injuries from
the battlefield, had any idea what sort of film would be
made to celebrate her secret notes, she might not only have
hidden her diaries, but most likely destroyed them. If
young Ernie, on the other hand, had been as decisive when
he firsts holds a gun in his hands in the trenches as old
Ernie was at the end of his life, we might have been saved
this tiring and trivial tale. Instead we are treated to a
love story revolving around the "war to end all wars" in a
film that could easily end some careers.
Young Hemingway, the journalist, eagerly enters the war as
an ambulance driver and, in no time at all, despite
opposition, manages to get himself onto the battlefield by
serving refreshments. Wounded and bloodied during an
attack, he displays his heroism by carrying the only other
remaining survivor across the battlefield to safety.
Waking up in hospital, he meets nurse Agnes who carefully
and caringly irrigates his knee. She manages to save the
limb that the doctor wanted to amputate. Agnes is popular
on the camp grounds. Both Dr. Caracciolo and Ernie's
friend Harry are chasing her cape. It looks as if Ernie
doesn't have a chance. After all, there is an age
difference between them (Agnes is 8 years his senior --
give me a break!) When a patient hideously disfigured from
phosphorous burns commits suicide, Ernie helps Agnes finish
the letter he had been writing home as a farewell to his
parents. She is profoundly moved by the composition and
they embrace. Before long, they have their limbs flying
all over each other in the only place available, a sordid
little hotel room. Eventually, however, Agnes will have to
decide between the rich, successful Italian doctor and the
young innocent American boy she loves. Which will she
choose?: the beautifully extravagant Venetian apartments
overlooking romantic canals or the white picket fences of
Illinois with all the apple pie you can eat?
I'm afraid that neither Sandra Bullock as Agnes nor Chris
O' Donnell as Ernest have the presence, maturity or depth
of character to make these figures the seeds of towering
and yet sympathetic creatures they should be.
Scriptwriters Clancy Sigal and Allan Scott, of course,
haven't helped them much in this area. Even the assistance
of a talent like Anna Hamilton Phelan (scenarist for
Gorillas in the Mist and Mask) doesn't seem to have
improved things much. It is astounding that a love affair
which served as the basis for what is arguably Hemingway's
most important novel, A Farewell to Arms, could also have
been the center of this bland, boring, naive, and
adolescent piece of work. The scene in the woods near the
end, more astonishing than moving, almost looks as if it
were stuck on as an afterthought. Then again, Hemingway
re-wrote the end of A Farewell to Arms 39 times before he
got it right. In this case, I don't think it makes much
sense to wait around for the director's cut. Sir Richard
Attenborough says, "This is a story which demonstrates
human relationships, human fallibilities, passions and
adrenaline aroused under the circumstances of imminent
danger and death." Did I miss something or were we
watching the same film? In the anals of Dickie's work,
this should easily find its proper place on the shelf
alongside A Chorus Line.
© 1994-2006 The Green Hartnett
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