Hemingway and Gellhorn – Passion is Where the Action Is! | The Culture Concept Circle
Starring Nicole Kidman and Clive Owens as Gellhorn and Hemingway respectively, the film chronicles various periods of the literary couple's. During the nine years of Martha Gellhorn's tempestuous relationship with Ernest Hemingway, he would often mock her by saying, "Uh - oh. Martha's of To take. Not only is “Hemingway and Gellhorn” wretched, it is bathed in and Gellhorn's competitive and combustible relationship and would be able to.
This is a man who likes to pound away standing up, and I'm not just referring to his typewriting style. As fun as it is to watch, it also veers into caricature. It's amusing but overall a tad too much.
To his credit, Owen sells the role. He makes it seem believable that Hemingway could be engaging in a dangerous game of Russian roulette one minute and laughing uproariously with his adversary the next. In fact, by the end of this film you could almost believe Hemingway capable of anything — well, except for marital bliss.
As for Kidman, she has previously said that she is more at home in dramas than lighter fare, which is apparent in this film. The more she is allowed to plunge Gellhorn's emotional depths, the more she shines, especially when her relationship with Hemingway hits the skids. Even the most strident anti-Kidman viewers would have to admit that she is at times exceptional as the go-getting, tough-as-nails reporter who can knock back a stiff drink with the best of them even if her Australian accent does make the occasional unwelcome appearance.
Don't mention Hemingway - London Toast Theatre
Even the most strident anti-Kidman viewers would have to admit that she is at times exceptional as the go-getting, tough-as-nails reporter. Kidman as Gellhorn is disarming in her easy camaraderie with soldiers on the way into Spain, charming when high on the good life in Cuba and alarming as the narrator speaking of the horrors witnessed.
For me, she most excels when portraying Gellhorn aged about By this time, the character is well and truly battle-scarred; her joy of life replaced with a formidable determination.
The makeup that ages Kidman is certainly remarkable and also nominated for an Emmy but it is her eyes that sell the transformation — her steely gaze seems to cut through the television screen and bore into you. Close your own eyes and you wouldn't believe the deep voice belongs to our Nicole. It is reminiscent of her Oscar-winning turn as Virginia Woolf in The Hours, and you can see why Kidman has been nominated for an Emmy for her role in this movie.
My only complaint is that her wide-eyed look of surprise is overused and wouldn't be out of place in a Coen Brothers film which this movie, at times, feels like. Kudos also goes to Kidman for taking on a character who is meant to be 28 years old — and they say there are no roles in Hollywood for women over 40!
There is some serious talent in this movie, and it's worth watching for the performances from the famous supporting cast alone. Metallica's Lars Ulrich makes an appearance as the enthusiastic documentary-maker.
It's hard to narrow this down to one, but Owen rubbing plaster from the falling walls into Kidman's skin during their unlikely love-making session is a bit hard to take.
Hemingway and Gellhorn – Passion is Where the Action Is!
This is one of the times where the show ventures too far into farce. Martha gained verve, confidence and curiosity from the examples of her parents. But their expectations and standards were hard to live up to, and she often despaired about her writing ability. This did not prevent her from ruefully noting, when in her 50s, that she was being overtaken by John Updike and Saul Bellow.
George was her harshest critic: Edna was less conditional in her love and Martha relied heavily on her support, once, with her usual tactless honesty, telling her adopted son, Sandy, that she loved her mother more than anyone else. Moorehead does not spare us the full painful story of Martha Gellhorn's bungled relationship with Sandy, whom she went to great lengths to adopt from an Italian orphanage in Work always mattered most to Gellhorn; it made her feel alive.
She published a dozen books of fiction and co-wrote a play, but, as Moorehead observes, she was a better journalist. Her intent was always to expose the civilian miseries of war, and though notably lacking in political analysis, her dispatches have a piercing clarity largely absent in the work of modern embedded correspondents.
She could be cannily prescient: The best of her war reportage has been collected in The Face of War and The View from the Ground and pungently demonstrates her dismissal of "all that objectivity shit".
Nowhere is this more evident than in her impassioned reports about Israel after the Six Day War in which she excoriates the Arabs, a position she never relinquished. Gellhorn was probably more afraid of boredom than death, which made her an excellent war correspondent, but an intemperate friend.
She nonetheless had the gift, as Moorehead so disarmingly puts it, of making you "feel a little better about yourself". This page biography, in which 20th-century history is rendered as vividly as the life, is both admirable and remarkably short.