1957 in Film: A Farewell to Arms

How well does this version of A Farewell to Arms hold up? Unfortunately, the answer is not very. Despite the talents of Rock Hudson and Jennifer Jones, and the backing by producer David O. Selznick, the film could be a case study in bigger isn’t always better. 

A Farewell to Arms was a farewell of sorts for David O. Selznick as this was his last film. Selznick productions spared no expense and he didn’t hold back for this one. It was shot in Cinecittà Studios and various locations in Italy. In addition to the high production value, Selznick also needed star power to bring in audiences.

This adaptation of Ernst Hemingway’s novel of the same name features Rock Hudson, one of the most bankable actors in the ‘50s. He plays Lt. Frederick Henry, an American ambulance driver for the Italian Army. Selznick’s wife, Jennifer Jones, co-stars as Catherine Barkley, a British nurse who falls for Frederick as his leg mends. This particular version of the story focused much more on their romance.

The casting choice for Catherine proved controversial, not only because of the difference in hair color and age as described in the book. Selznick clearly pushed for the film to have more scenes with his wife. John Huston, the original director, left the project because of this.

Related Review: 12 Angry Men

The physical differences are superficial. However, Jones’ accent isn’t all that convincing and is more distracting. Hudson often carries himself more like a model than a soldier. Still, the sheer star power of both make the film watchable enough.

The supporting cast gives the film much needed variety. Elaine Stritch shines in an all-too-brief role as Helen Ferguson, Catherine’s forthright friend. Mercedes McCambridge as Miss Van Campen provides much needed tension as the foil to the lead characters in the early part of the film. Vittorio De Sica, Oscar nominated for his role, makes for an excellent Major Rinaldi, Frederick’s friend. He is solely missed as the film lumbers along into the third act, which has our characters on the run, though not much tension exists to indicate that.

In addition to the change in director, there were three different cinematographers on this film. Oswald Morris was a frequent collaborator with John Huston. After Huston exited the project, Morris stuck it out until creative differences proved to be a bit much. Piero Portalupi, an Italian cinematographer, shot the rest. Selznick even hired James Wong Howe, uncredited, to do some reshoots to photograph his wife in a particular way.

In the 50s, it was commonplace to take black & white films from the ‘30s and early ‘40s and remake them in color. CinemaScope, the format of choice by Morris of this production, emerged from this decade to make previously told stories feel larger than life with its widescreen format.

Related: 1957 at the Oscars

However, the expansive frame actually hurts this film. Many scenes take place in hospitals and army bases. Despite the best efforts of production designer Alfred Junge, scenes drag on long enough to make it very clear that the sets are artificial and shot on sound stages. The cinematography makes the most out of select exterior scenes shot in Italy, especially the wide shots of soldiers marching toward the front lines.

There is another key difference between this remake and the original black and white film. The 1932 version is solely based on the book, while the 1957 edition combines both the book and the Broadway play. At times, the dialogue comes across as stilted and very cringe. For example, when Catherine swims around Frederick sitting in a rowboat, she says “I’ll say just what you wish and I’ll do what you wish.” In the scene that takes place on New Year’s Eve, Catherine while continuing to worry that Frederick may leave someday delivers a now ironic line with playful accusation, “You’re going down to town tomorrow and find yourself some gay young playmate.”

Director Charles Vidor’s prior credits include A Song to Remember, Hans Christian Anderson and Gilda. With the daunting task of replacing John Huston, the end result comes across as the type of situation that happens every so often where the producer overpowers the director.

Vidor stopped making films shortly thereafter. Perhaps the experience soured him on filmmaking.  Selznick failed to reach the heights of his other romantic drama set during wartime, Gone with the Wind. Despite being a troubled production, A Farewell to Arms ranked among the top grossing films of 1957 and the fifth highest in Rock Hudson’s career.

Many regard Hemingway’s novel as one of his best, if not the best. It remains a popular choice for English teachers to place on high school required reading lists. If students are looking for a film to watch in lieu of the book, go with the one from 1932. It’s much shorter and much more well-received.