Ernest Hemingway penned his two short 'white hunter' tales in 1936 both of which have been adapted for the screen and starred Gregory Peck. He gives a strong performance as Harry in 'Snows of Kilimanjaro' but in this earlier film he simply cannot rise above his monumental miscasting. Physically he could not be further from the Robert Wilson of Hemingway's imagining who is an Englishman of middle height with sandy hair and a stubbly moustache. During the inner monologues of the original he reveals himself to be extremely cynical and always goes on safari with a double cot as he considers horizontal socialising with the wives of his wealthy clients to be 'a windfall'. In keeping with Mr. Peck's upright persona and dignified demeanour he sleeps in a single cot and is here motivated not by lust but by love which changes the whole complexion of the piece, makes the triangle less sordid and weakens the drama.
The object of his affections is Margot Macomber. As envisaged by the author she is not easy to love and is described as 'being enameled in that American female cruelty'. She represents the type of woman that has made Hemingway 'public enemy number one' in the eyes of feminists. The difficulty for an actress is to avoid making Margot too 'one-note' and Joan Bennett acquits herself pretty well.
The notion that a man only knows what it is to be a man when slaughtering various species of wildlife is of course anathema to the current generation but here it is what makes Francis Macomber such an interesting character. It is a means by which he conquers his fear and thereby liberates himelf, much to his wife's annoyance. His new-found freedom is alas short lived....... Robert Preston gives a beautifully understated performance and the film really belongs to him.
The final line in the book is Wilson's "Now I'll stop". If only the film itself could have stopped there but no! We are subjected to the customary Hollywood morality lesson imposed by the American Production Code in which Margot resolves to face the music and atone for her crime. It was to be another twenty years before this aggravating organisation bit the dust.
The film is capably directed by Zoltan Korda and is not without its moments.
Hemingway's terse dialogue which is eminently suitable for film remains largely intact.
I would strongly recommend reading the original. It won't take you long!
The object of his affections is Margot Macomber. As envisaged by the author she is not easy to love and is described as 'being enameled in that American female cruelty'. She represents the type of woman that has made Hemingway 'public enemy number one' in the eyes of feminists. The difficulty for an actress is to avoid making Margot too 'one-note' and Joan Bennett acquits herself pretty well.
The notion that a man only knows what it is to be a man when slaughtering various species of wildlife is of course anathema to the current generation but here it is what makes Francis Macomber such an interesting character. It is a means by which he conquers his fear and thereby liberates himelf, much to his wife's annoyance. His new-found freedom is alas short lived....... Robert Preston gives a beautifully understated performance and the film really belongs to him.
The final line in the book is Wilson's "Now I'll stop". If only the film itself could have stopped there but no! We are subjected to the customary Hollywood morality lesson imposed by the American Production Code in which Margot resolves to face the music and atone for her crime. It was to be another twenty years before this aggravating organisation bit the dust.
The film is capably directed by Zoltan Korda and is not without its moments.
Hemingway's terse dialogue which is eminently suitable for film remains largely intact.
I would strongly recommend reading the original. It won't take you long!