Review of From Here to Eternity (1953) by Damion R — 09 Jul 2011

Once again, I watch a classic film from the 50s, winner of eight Academy Awards (out of thirteen nominations) with a beach scene known to just about everyone, whether they've seen the movie or not, myself included prior to this viewing, and I am left with a feeling complete indifference.

Tagged as being based on "the most controversial novel of our time," I cannot begin to imagine what was even controversial about this story at any moment. Unless the representation of escorts and sleeping with other's people's wives was THAT controversial back in 1953. I expected something more intertwined with the bombing of Pearl Harbour and all I got was a so-called hot head soldier Prew (played overdramatically by the gorgeous Montgomery Clift as he tries desperatly to act like he is straight) who has given up boxing and is thus pressured to get back in the ring by his company upon arival in Hawai'i after a transfer for "personal reasons" while falling for a woman who works in a gentleman's club. There is also the story of Sergeant Warden, played by the uber-handsome Burt Lancaster, a man who takes a liking to Prew while also taking a romantic liking to his commanding officer's wife. Though due to the scene where Lancaster is drunk and playing with the hair on the back of Clift's head, there almost seems like there might be something romantic lurking there, too..... All this just happens to come to a head on December 7th, 1944.

Sometimes I truly get the joy and craftsmanship and execution of these old movies, but with many, it just goes beyond me. And "From Here to Eternity" is one of those films which I now feel has been over-rated for a very long time. This film is filled with acting that doesn't even seem remotely natural, a story that jumps and then leaps and doesn't really have any point, with people falling in love in the course of five minutes after seemingly hating each other, and features the ever-annoying Frank Sinatra, who inexplicably won an Oscar for his supporting role as Prew's loud-mouth buddy, who really brings nothing to the story at all. Really, the only thing I found Oscar-worthy about this film was indeed the stunning black and white cinematography, which Burnett Guffey indeed won. And Clift's bone structure.

If you love the over-stuffed, over-acted love stories of the fifties and haven't seen this film yet, you'll probably love it. But for me, it is another over-the-top drama that moves way to slow on a non-stop track to nowhere.