Conjuring the name Ernest Hemmingway is near impossible without thinking of the written word. Yet, in her 2024 film, director Paula Ortiz skillfully translates the writer’s work onto the big screen in Across the River and Into the Trees, an elegant and haunting adaptation of the 1950 novel of the same name.
As is often the case with adaptations, this Tribune Pictures production takes liberties and diverts from the original text, but still delivers on communicating themes of loss, regret, mortality, and death, all shouldered along by the Hemmingway archetype of a man’s man facing adversity.
The man’s man of the film is its protagonist, Colonel Richard Cantwell (Liev Schreiber) who, upon receiving a terminal diagnosis, ventures to Venice, Italy, for what the viewer is told is a duck hunting trip. The casting of Schreiber is spot on as he somewhat resembles Hemmingway, bringing a gruff and weathered features to the screen along with an athletic build, stoic demeanor, and smooth line delivery that comes together to project a reserved bravado that is admirable to anyone who has ever played with a G.I. Joe.
He’s aided along - both literally and figuratively - by a small, solid supporting performance from Josh Hutcherson, playing the low-level-but-at-times-wisdom-delivering soldier Jackson, as well as by Matilda De Angelis, who plays Renata Contarini, a Venice native whose youthful beauty and contained energy dressed in 1940s attire gives the effect of a porcelain doll who has come to life and is yearning to live, but who is instead trapped in an ancient doll house.
De Angelis is both charming and endearing in her portrayal of Renata, the princess in the film’s pretty palace of mise-en-scène. The beauty of this world rests largely on the depiction of Venice shortly after World War II. With its gondolas, Renaissance art, ever-present (recent) history, and reflective commentary from exquisitely dressed natives, the film drapes the city in a proud exterior that sits translucently over a fragile and melancholy interior.
To be specific about the breathtaking mise-en-scène of Across the River and Into the Tree, two scenes come to mind. One transpires about midway through, when an evening stroll between Renata and the Colonel takes them to a garden built by one of her ancestors. Framed in an archway of flowers, and held in a faint hue of light, without a stitch of her outfit out of place, Reneta serenades the Colonel with an allegorical tale of yore told against the gentle waves of Italian opera.
The other is near the end, when the Colonel rows across a lagoon as if paddling the river Styx. Instead of two coins for the ferryman he has two bullets inside a gun. He has reached the destination of his desire, but it’s left to the viewer to decide whether or not he’s there for duck hunting. (The origin of the work’s title will nudge most into a particular direction).
One aspect often associated with Hemmingway that hurts Across the River and Into the Trees and its 1:46 run time is the heavy reliance on dialog. This causes the already slow-paced film to drag in parts, including a few scenes from secondary plots that come across as unnecessary, especially considering some of the other material that was omitted from the book. Still, the dialog is born from the work of one of America’s best writers so it’s full of intellect and wit, but at times dry in a way one might only have the patience to gain an appreciation for if they were forced to watch this on a rainy Tuesday in an Honors English class.
A familiarity with Hemmingway will go a long way in enjoying this 3 out of 5 star film. And for those that prefer visual art to the written, Across the River and Into the Trees provides great insights into the legendary writer and is a solid educational film, library resource, and will act as a worthy choice for anyone who teaches with film.
How can Across the River and Into the Trees be integrated into public libraries’ collection development?
Across the River and Into the Trees offers a rich, nuanced portrayal of themes such as loss, regret, and mortality, making it a valuable addition to public libraries’ collections. It can serve as an educational resource for patrons interested in literature adaptations, Ernest Hemingway’s works, and classic literary themes. Libraries can use this film to support discussions on literature, film adaptations, and history, especially in sections dedicated to literary films or historical fiction. With the availability of Public Performance Rights (PPR), libraries can host screenings followed by book-club style discussions, encouraging deeper engagement with the text and the film adaptation.
What college courses and majors could benefit from using Across the River and Into the Trees?
Across the River and Into the Trees would be valuable for courses in English Literature, Film Studies, History, and Sociology. English Literature students can study it as an adaptation of Hemingway’s novel, exploring the challenges and artistic choices in translating written work to film. Film Studies majors could analyze its cinematography, pacing, and mise-en-scène, while History students can examine the post-World War II setting and its impact on the characters. Sociology students could explore the depiction of masculinity, loss, and the human condition as reflected in the protagonist’s journey. The film’s layers of meaning offer great potential for multidisciplinary study.
How could Parks and Recreation programs use Across the River and Into the Trees in their educational initiatives?
Parks and Recreation programs could use Across the River and Into the Trees in educational initiatives aimed at exploring themes of loss, history, and the human experience. The film’s reflection on mortality and post-war society could be particularly poignant in wellness or memory programs that explore mental health, life transitions, or historical reflections. It could be screened during events focused on literature, history, or even for veterans' appreciation months, as the protagonist, Colonel Richard Cantwell, grapples with mortality and the aftermath of war. Post-screening discussions could encourage participants to reflect on their own experiences with loss and legacy.
What are the Public Performance Rights (PPR) considerations for screening Across the River and Into the Trees?
For public screenings of Across the River and Into the Trees, institutions and organizations need to secure Public Performance Rights (PPR) to legally show the film outside private viewings. This is especially important for libraries, educational institutions, and community organizations wishing to screen the film for audiences. By acquiring PPR, these venues can host educational and community screenings, ensuring that they comply with copyright laws and also provide audiences with valuable discussion opportunities on the film’s themes and its adaptation of Hemingway’s work.
How could Across the River and Into the Trees enhance special events on college campuses?
Across the River and Into the Trees would be an excellent addition to special events on college campuses, particularly those focused on literature, film, and history. It could be screened as part of a film festival, followed by discussions on literary adaptations or post-World War II American literature. The film’s strong thematic content on masculinity, loss, and identity would make it a great fit for events that explore psychological or sociological themes. Additionally, it could be featured during an Ernest Hemingway-themed event or as a part of a larger discussion on how history and literature intersect with modern cinema.
Why is Across the River and Into the Trees a strong candidate for movie licensing?
Across the River and Into the Trees is a strong candidate for movie licensing due to its literary roots and timeless themes. It offers a unique blend of historical context, literary adaptation, and character-driven storytelling, which can appeal to a wide range of audiences, from literature enthusiasts to students of film and history. With its deep themes of mortality, regret, and the human experience, the film also has significant educational value, making it a prime candidate for licensing to schools, libraries, and public venues. By licensing the film, institutions can foster discussions on Ernest Hemingway’s legacy, the art of adaptation, and the portrayal of war’s lasting effects, creating a rich educational experience for viewers.