For Whom the Bell Tolls (A- or 3.5/4 stars)
Gary Cooper plays American bomb expert Robert Jordan who is fighting on the side of the communist rebels during the Spanish Civil War in 1943's Technicolor epic, 'For Whom the Bell Tolls' (directed by Sam Wood). He arrives in rural Spain to blow up an all-important bridge, and joins up with blowhard Pablo (Akim Tamiroff) & his ragtag guerilla troop. Pablo is a weak-willed, tempestuous, perpetually drunk slob of a man who rules his freedom fighters with an iron fist 'til the others finally realize that they can, perhaps, do better. With Robert's quiet approval, Pablo's fiery girlfriend Pilar (colorful Greek actress Katina Paxinou) takes charge, & Pablo cowardly runs off. He eventually returns, but nobody thinks he's trustworthy except idealistic Robert. He sees good in him.
While he bides his time waiting to complete the mission, he also sees good (and a lot more) in fellow rebel, Maria (Ingrid Bergman), a beautiful peasant girl whose parents were murdered by the loyalists & suffered a demoralizing rape at their hands, as well. She is drawn to Robert's calm sense of worldliness and, it doesn't hurt that he's a man being played by the ridiculously handsome Gary Cooper. Maria & Robert quickly fall in love (the story spans 4 days!), but points out that his dedication to this rebellion is far greater than his dedication to her. Slow-burn melodrama ensues en route to the big blowing-up-of-the-bridge and the fall-out from it.
For a while, everyone in felt that 'For Whom the Bell Tolls' would clean-up at the Academy Awards (Hollywood, the public, even the critics). Here was a smash box office hit based on an Ernest Hemingway novel which starred two highly attractive, bankable, appealing star actors {Bergman & Cooper -- rumor has it that their onscreen romance spilled over into real life, of course}. What folks back then didn't count on was that little 'ole classic Casablanca {you may have heard of it} popping up to steal 'FWtBT' thunder at the Oscars -- and so, it did. In any case, I don't think 'FWtBT' is as magnificent or eternal as Casablanca, but it's still a great motion picture; chock full of things to praise about it. Just to my liking, 'For Whom the Bell Tolls' is a big, sweeping adventure/love story in the grand tradition of golden age Hollywood. The good guys are VERY good. The bad guys are VERY bad. Even Ingrid Bergman's character - which would be cast out & spat on by today's feminists - gets some points for old-fashioned, loyal "stand by my man-ness".
Gary Cooper gives a sturdy, stoic performance as the knowing, if also world-weary Robert (or "Roberto!", as Maria cries out for him). His silence speaks volumes about where he's been in life & what he's seen. Ingrid Bergman impresses, as well. Though she's present from beginning to end, she stays in the background a lot; catering to Robert's every need. But Bergman also lets loose with a smattering of touching, impassioned speeches throughout which shows her true talent. You know, as good as she is here, it's a tad surprising that she was nominated (alongside Cooper, Paxinou, & Tamiroff) for an Oscar for this portrayal, rather than her iconic turn in Casablanca. But I digress. She's very good here and, you can't tear your eyes from her ravishing face, or Cooper's piercing blue eyes, for that matter. You also can't tear you eyes from Katina Paxinou, the aggressive, seasoned freedom fighter Pilar, who - like the movie - only sees things in black & white.
If I had one major complaint on the film, it would be that it didn't need to be 165 minutes in length. Simply put, that is gargantuan compared to the material in the novel. Some contemporary critics note that the 3 different subplot/storylines (tensions within the band of rebels, Robert's love affair with refugee Maria, & the intense mission to destroy the bridge) do not coalesce in a way that consistently entertains or compels for the duration. I can kinda see that, yeah. But for me, there are too many isolated pockets of brilliance & majestic attributes that smooth over the rough spots. The Technicolor photography is wonderfully lush. And Victor Young's pulsating music score ratchets up the tension & intensity; particularly in the final bridge scenes. So despite the film's monstrous length & some tedious speechy sections, I found myself consistently absorbed in the characters, their actions, & the immensity of the proceedings.
While he bides his time waiting to complete the mission, he also sees good (and a lot more) in fellow rebel, Maria (Ingrid Bergman), a beautiful peasant girl whose parents were murdered by the loyalists & suffered a demoralizing rape at their hands, as well. She is drawn to Robert's calm sense of worldliness and, it doesn't hurt that he's a man being played by the ridiculously handsome Gary Cooper. Maria & Robert quickly fall in love (the story spans 4 days!), but points out that his dedication to this rebellion is far greater than his dedication to her. Slow-burn melodrama ensues en route to the big blowing-up-of-the-bridge and the fall-out from it.
For a while, everyone in felt that 'For Whom the Bell Tolls' would clean-up at the Academy Awards (Hollywood, the public, even the critics). Here was a smash box office hit based on an Ernest Hemingway novel which starred two highly attractive, bankable, appealing star actors {Bergman & Cooper -- rumor has it that their onscreen romance spilled over into real life, of course}. What folks back then didn't count on was that little 'ole classic Casablanca {you may have heard of it} popping up to steal 'FWtBT' thunder at the Oscars -- and so, it did. In any case, I don't think 'FWtBT' is as magnificent or eternal as Casablanca, but it's still a great motion picture; chock full of things to praise about it. Just to my liking, 'For Whom the Bell Tolls' is a big, sweeping adventure/love story in the grand tradition of golden age Hollywood. The good guys are VERY good. The bad guys are VERY bad. Even Ingrid Bergman's character - which would be cast out & spat on by today's feminists - gets some points for old-fashioned, loyal "stand by my man-ness".
Gary Cooper gives a sturdy, stoic performance as the knowing, if also world-weary Robert (or "Roberto!", as Maria cries out for him). His silence speaks volumes about where he's been in life & what he's seen. Ingrid Bergman impresses, as well. Though she's present from beginning to end, she stays in the background a lot; catering to Robert's every need. But Bergman also lets loose with a smattering of touching, impassioned speeches throughout which shows her true talent. You know, as good as she is here, it's a tad surprising that she was nominated (alongside Cooper, Paxinou, & Tamiroff) for an Oscar for this portrayal, rather than her iconic turn in Casablanca. But I digress. She's very good here and, you can't tear your eyes from her ravishing face, or Cooper's piercing blue eyes, for that matter. You also can't tear you eyes from Katina Paxinou, the aggressive, seasoned freedom fighter Pilar, who - like the movie - only sees things in black & white.
If I had one major complaint on the film, it would be that it didn't need to be 165 minutes in length. Simply put, that is gargantuan compared to the material in the novel. Some contemporary critics note that the 3 different subplot/storylines (tensions within the band of rebels, Robert's love affair with refugee Maria, & the intense mission to destroy the bridge) do not coalesce in a way that consistently entertains or compels for the duration. I can kinda see that, yeah. But for me, there are too many isolated pockets of brilliance & majestic attributes that smooth over the rough spots. The Technicolor photography is wonderfully lush. And Victor Young's pulsating music score ratchets up the tension & intensity; particularly in the final bridge scenes. So despite the film's monstrous length & some tedious speechy sections, I found myself consistently absorbed in the characters, their actions, & the immensity of the proceedings.