REVIEW: “Across the River and Into the Trees” (2024)

As a connoisseur of Hemingway’s work who’s been known to sail across literary rivers and dive into the deepest seas of his prose, I found Paula Ortiz’s adaptation of “Across the River and Into the Trees” to be an enchanting journey. The film, like a Venetian gondola gliding through the city’s canals, skillfully navigates the complexities of Hemingway’s themes: death, love, and the emotional wounds of war.

The novel “Across the River and Into the Trees” by Ernest Hemingway isn’t typically discussed alongside his most renowned works, but it holds a special place in my heart. Initially published as a series in the magazine Cosmopolitan in 1950, it was later released as a standalone novel that same year. Despite receiving unfavorable reviews from critics at the time, “Across the River” was Hemingway’s only novel to reach number one on the New York Times Bestseller list. Over time, literary experts have grown more appreciative of this work.

Director Paula Ortiz, following a screenplay by Peter Flannery, translates “Across the River and Into the Trees” onto the screen in an adaptation that delves into the essence of Hemingway’s compelling discourse on confronting death, the possibility of love, and the emotional scars of war. This modernized and secure version made its debut at Idaho’s Sun Valley Film Festival in March 2022, and it is now accessible for a wider audience to contemplate. And much like Hemingway’s book, the responses are anticipated to be intriguing.

REVIEW: “Across the River and Into the Trees” (2024)

viewers well-versed with the book will quickly spot how the movie simplifies its storytelling process; Flannery’s screenplay skips over numerous initial details from the book and makes substantial changes to the narrative structure. However, it continues to center around the complex character of Colonel Richard Cantwell (portrayed by Liev Schreiber), a 51-year-old American military officer, who is both a decorated hero of two World Wars and serving in Italy.

The Colonel closely embodies the typical character found in Hemingway’s works – weary and skeptical at heart. Beneath his unyielding, granite-like exterior lies much more than just a recent diagnosis of a terminal illness. It also conceals a damaged spirit marked by sorrow and trauma. The Colonel is a man who seems to be self-destructive, with a penchant for excessive drinking, smoking, and taking nitroglycerin pills to manage his heart condition. However, there’s an understated romantic aspect to him that becomes evident in his affection for the city of Venice.

Disregarding the warnings of his concerned friend and doctor, Captain Wes O’Neill (played skillfully by Danny Huston), the obstinate Colonel plans a weekend duck hunt in Venice despite his health concerns. Despite reluctance, Captain O’Neill eventually agrees but assigns him a chatterbox driver, Private Jackson (Josh Hutcherson). It doesn’t take long for the Colonel to lose his escort and catch a boat ride into the city with an intriguing young woman named Renata Contarini (Matilda De Angelis). From the moment they meet, he finds himself captivated by her, causing him to forget his primary purpose for visiting Venice.

By chance, or perhaps destiny, the Colonel encounters Renata once more and they spend an evening exploring the city, admiring its stunning landmarks and intricate waterways. It’s disclosed that Renata is a countess from a formerly prosperous family. Despite this, she finds herself engaged to a wealthy aristocrat named Antonio (Giulio Berruti), not out of affection, but primarily to appease her ambitious mother. The ambiance of the city, with its Linklater-esque charm, is present, yet tinged with a heavy feeling of despair. This duality of beauty and sadness is what makes the film both captivating and poignant.

Ortiz skillfully employs her settings, beautifully captured by cinematographer Javier Aguirresarobe. The movie offers a visually rich experience, yet manages to avoid becoming merely a picturesque travelogue due to its self-restrained approach. The camera is not just showcasing the locations, but rather following the characters on their emotional journey. Venice certainly plays a significant role, however, “Across the River” is characterized by its conversational and contemplative nature. Flannery’s dialogue feels natural and insightful; at times, it may be uneven, but overall, it aligns well with the essence of Hemingway’s writing style.

2024-08-29 17:56

REVIEW: “Across the River and Into the Trees” (2024)

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