For Whom The Bell Tolls (1943)

Strong, silent Gary Cooper did an impressive job as Robert Jordan in this adaption of Ernest Hemingway’s story of unexpected romance during the Spanish Civil War.

Jordan, an idealistic American mercenary, is there to blow a bridge for the Spanish Republicans. While he is on his mission, he meets the incandescent Maria (Ingrid Bergman), a member of a guerilla band nominally headed by Pablo (Akim Tamiroff), but actually led by Pilar (Katrina Paxinou) in a career performance that earned her an Academy Award.

The movie is photographed in a color that fairly drips off the screen in its oranges and golds and shadows. Many of the scenes are set-pieces of great artistry, reminding one of paintings by Rembrandt.

The supporting characters do some of the finest acting I have seen in setting the scene of melancholy in the midst of an idyllic landscape. The exchanges between Pilar and Pablo, and later Pilar and Maria are especially memorable as she tells the story of her life and urges Maria to join Robert under the evening sky. The wizened faces of the no longer young guerillas appear poignant as they discuss their hopes and aspirations.

Tying it all together is an enchanting score by Walter Kent and Victor Young.

The ending of the film is sobering, but it leaves the viewer with a feeling that he has, for once, seen unconditional love.

With all these things going for it, what could be wrong? Well, the editing. For Whom the Bell Tolls runs 170 minutes with an intermission. That is just a shade under three hours. The action pacing is just not enough to keep your undivided attention despite the impressive interplay between the guerillas, the love scenes between Coop and Bergman, and the battle scenes. Still, there is plenty to like and most viewers will be satisfied that they have seen a very good, if not great film.




Recommended: Yes