DEN GAMLE MAND OG F*I*L*M*E*N a F Birger Jørgensen

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DEN GAMLE MAND OG F*I*L*M*E*N a F Birger Jørgensen DEN GAMLE MAND OG F*I*L*M*E*N A f Birger Jørgensen Hemingway. Om Ernest Hemingway i 1932 blev skuffet af sit forhold til Cathrine, fordi det altid er bedre Erank Borzages filmatisering af „Farvel til end at gå på bordel. Han er først klar over våbnene", ved jeg ikke. Men det fortælles, at sine følelser, da han genser Cat på hospitalet han forlod premieren på Henry Kings udgave i Milano. „Da jeg så hende, var jeg forelsket af „The Sun Also Rises" i 1957 efter at have i hende." Og i filmen „flygter" Cat alene til set halvdelen af filmen - og dermed tilstrække- Schweiz for at føde sit barn. Henry deserterer, ligt. fordi han ikke hører fra Cathrine, Rinaldi, som Der ligger 25 år imellem disse to film, der spiller langt større rolle end i romanen, har ligger syv andre Hemingway-filmatiseringer holdt hendes breve tilbage. Tyve breve, som imellem dem, og der er allerede kommet tre Cathrine får samlet tilbage, bliver medvirkende efter „The Sun Also Rises". Vil man være årsag til den tidlige og svære fødsel. Henry meget flot, kan man sige, at af de over 35 km ankommer naturligvis til hendes dødsleje i Hemingway, man har indspillet siden 1932, er sidste minut, så hun kan dø i hans arme. Mens bare en procent rigtig lykkedes. Naturligvis fredsklokkerne ringer, bærer han sin døde hu­ Robert Siodmaks blændende indledningssekvens stru mod hospitalets franske dør, idet han i „Den der hævner" („The Killers"). Så flot mumler: Fred ... fred. Klokkerne ringer, tør man dog trods alt ikke være, dels af frygt fredsduerne flyver mod himlen, og solen for „Den gamle mand og havet"s mange be­ skinner. undrere, og dels fordi der blandt de otte ro­ I Hemingways roman forlod Henry hospi­ manfilmatiseringer og fire novellefilmatiserin­ talet „og gik hjem til hotellet i regnen". ger har været ærlige men mislykkede kunstne­ Størstedelen af ansvaret for denne forvansk­ riske bestræbelser, som det hedder. ning af et litterært arbejde må placeres hos ma­ * nuskriptforfatterne Glazer, Garrett og Lang. Det er ejendommeligt at se ting, de åbenbart Richard Grijfith hævder, at Borzage i „Far­ har ladet sig fascinere af i romanen, dukke op vel til våbnene" ved at erstatte den hemingway- andre steder i filmen. Den makabre skildring ske forlorne og sentimentale realisme med en af manden i båren ovenover Henry og af utvetydig romantisk approach har givet sin hvordan hans blod skyller ned over Henry, er film mere ærlighed og styrke. „Krigens menne­ i romanen en uhyggelig parallel til det gen­ skelige konsekvenser symboliseres i historien nemgående regnmotiv. I filmen er det en gan­ om de to elskende." Jeg finder synspunktet ske irrelevant såret, det går ud over. forkert og kan ikke se, at „Farvel til våbnene" Skønt Ben Hechts manuskript til King Vi- som kunstværk står meget højere end andre dors udgave af „A Farewell to Arms" fra i Hollywoodfilm på den tid. Og gør den det, år har været mere trofast mod Hemingway, er har den i hvert fald ikke meget med Heming­ resultatet tilsyneladende blevet langt fra til­ way at skaffe. Lad mig pege på nogle af de fredsstillende. Man har rettet den hovedind­ mange væsentlige afvigelser fra romanen, som vending mod filmen, at den forsøger at skabe jeg ikke finder forloren. At Cathrine og Henry et epos over et ikke episk stof. Filmen betegnes bliver gift i filmen, for at hun kan komme på som overdrivende og svulstig. Man kan nævne sine natlige sengebesøg, bærer man over med. slutsekvensen, der vist om muligt er endnu Også fordi det er elegant gjort, idet vielsen værre end i førsteudgaven, her er den oven foretages hemmeligt af den katolske feltpræst, i købet i cinemascope og farver. Henry for­ og således ikke er afgørende for deres forhold lader her hospitalet efter Cathrines død, gen­ til deres omgivelser. I romanen indleder Harry nem underlægningsmusikken høres Cats stem- 78 me. Der følger et tilbageblik, hvori hun siger: kene, drankeren Eddie (Walter Brennan), Ma­ „W e’re going to have a strange life, but it’s rie og Harry at slippe bort, efter at Harry har the only life I want". Der jades over til et dræbt politimanden, som slog Marie. Howard himmelsk kor, og i den tidlige morgensol ses Hawks iscenesatte. Filmen er med rette blevet Henry langsomt gå ned ad en gade. Så be­ betegnet som et forsøg på at gentage successen gynder regnen. I Borzages film spilledes par­ med „Casablanca" fra året før. Hoagy Car- ret af Gary Cooper og Helen Hayes, som man michael var med og var som altid god. syntes dækkede de to skikkelser. I Vidors film Næste filmatisering af „At have og ikke er det Rock Hudson og Jennifer Jones (som have" kom i 1950 i Michael Curtiz’ instruk­ er gift med filmens producer David Selznick), tion under titlen „Bristepunktet" („The Break- og ingen af dem synes at have format til op­ ing Point") og med John Garfield i rollen gaven. Alberto S ord i er blevet kaldt en euro­ som Harry Morgan. Denne gang havde man pæisk version af en Bing Crosby-præst. altså ændret titlen, men til gengæld beholdt Hemingwayfilmatisering nummer to kom i størsteparten af handlingen. Det sociale aspekt 1943. Med selveste Dudley Nichols som ma­ er antydet. Men meningen i romanens centrale nuskriptforfatter og Sam Wood som instruktør replik: „En mand kan ikke klare den alene. indspillede „Paramount" en næsten tre timer Ikke nu om stunder . .. står man alene, går lang „Hvem ringer klokkerne for“. En film man fa’en i vold" går tabt i filmen og dermed som står svagt i min erindring. Det er karak­ også romanens idé, idet Harry ikke mister teristisk nok bipersonerne, man husker. Katina livet, men kun en arm. Da han efter amputa­ Paxinou var god som Pilar. De ledende roller tionen kommer hjem, er han, som program­ som Jordan og Maria spilledes af Gary Cooper met fortæller, „trods alt lykkelig over at kunne og Ingrid Bergman. Ebbe Neergaard ramte vende tilbage til sin lille tapre kone og bør­ plet, da han om Bergman skrev, at hun vir­ nene". kede „som en kultiveret, stilfærdig studine, der Den tredie filmatisering af „At have og er på sommerferie i bjergene og har en roman­ ikke have" er udsendt af „United Artists" i år. tisk kærlighedsoplevelse der“. Hemingway var Den er iscenesat af Don Siegel. Denne gang der ikke meget tilbage af. Det var den reneste hedder den „The Gun Runners", og Harry, skæreste kulørte underholdning. som her spilles af Audie Murphy, har fået Året efter kom den første filmatisering af navneforandring til Sam Martin. I denne ud­ „At have og ikke have", og i den var der ikke gave er handlingen også væsentligt ændret, stort andet tilbage fra romanen end titlen. idet Harry (som man foretrækker at kalde IVilliam Faulkner skrev manuskriptet i samar­ ham), efter at han er blevet snydt for beta­ bejde med Jules Furthman. De komponerede lingen af bådleje af en lystfisker, tilbydes en helt ny melodi på de hemingwayske har­ hjælp af en Hanagan, mod at han hjælper monier. Hemingway skrev „At have og ikke denne og hans pige til Havana. Hanagan, som have" umiddelbart før han rejste til Spanien viser sig at være våbensmugler, når at dræbe for at deltage i borgerkrigen. Den er en af en politimand og en taxachauffør, inden han hans svageste romaner, men den er kendeteg­ stikker af. Hanagan har sikret sig en part i net af en social bevidsthed, som allerede an­ båden og vil have Harry til at fragte våben tydes i titlen. Denne bevidsthed er imidlertid til Cuba. Harry ændrer imidlertid kurs mod gået fløjten i filmen, hvorfor titlen bliver me­ Bermuda-øerne og dræber Hanagan. Handlin­ ningsløs. Et kort referat af handlingen vil gøre gen er ændret og det sociale tema næsten for­ det klart, hvor stærkt den afviger fra sit for­ svundet. En anmeldelse i „Monthly Film Bulle­ læg. Harry Morgan (Humphrey Bogart) bor på tin" kalder Audie Murphys spil „insensitive “ Martinique (og ikke i Florida), det er tiden og betegner Siegels instruktion som livløs og umiddelbart før Frankrigs fald (i bogen før ikke overbevisende. Derimod roses Hal Mohrs krigen). Harry nægter at transportere to men­ foto, som ganske rammer bogens stemning. nesker for den franske undergrundsbevægelse, Men, siges det, denne undtagelse fra en kom­ men efter en razzia, Vichy-politiet foretager, plet mishandling af stoffet er ikke tilstrækkelig ændrer han mening. En mand, som har lejet til at redde filmen. hans båd, bliver skudt og sammen med pigen Hemingways første roman „The Sun Also Laureen Bacall forhøres han. Marie prygles Rises" fra 1926 er først blevet filmatiseret i under forhøret, hvilket får Harry til at fragte 1957, fordi den, som Fox så gribende udtryk­ modstandsfolkene til en naboø - mod betaling, ker det, er „a love story that was too daring så han kan købe en flyvebillet til USA til to film until now“. Hemingways desperate do­ hende. Der sker imidlertid adskilligt flere for­ kument om en fortabt generation har man lavet viklinger, men det lykkes dog modstandsfol­ til en film „to make you forget your worries". 79 Hemingway forlod som sagt premieren midt i digter „frækt" videre og fortæller, hvorfor den filmen. „Den har ikke meget med min roman fredsommelige svensker skulle slås ihjel. Det at gøre,“ sagde han. Selv mindre seriøse film­ lyder afskrækkende, men det lykkedes i virke­ publikationer gør sig lystige over Henry Kings ligheden ham og Siodmak at fastholde den udgave af „The Sun Also Rises“. En engelsk hemingwayske atmosfære, skønt indlednings­ kritiker skriver, at Jakes (Tyrone Power) im­ sekvensen står stærkest i filmen. potens og Bretts nymfomani meddeles kort og „Safari på liv og død" („The Macomber brutalt, som om disse ting i sig selv var til­ Affair"), som kom i 1947, var en filmatisering strækkelige til at give filmen dramatisk og af novellen „Francis Macombers korte lykke­ psykologisk rejsning.
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