All the films from all the editions, including those subsequently removed, presently totalling 1167. An easy way of seeing how…
From Here to Eternity
Pouring out of impassioned pages...brawling their way to greatness on the screen!
The setting is an army base in Hawaii in 1941. Montgomery Clift, in a superb performance, plays a bugler who refuses to fight for the company boxing team; he has reasons for giving up the sport. His refusal results in harsh treatment from the company commander, whose bored wife (Deborah Kerr) is having an affair with the tough-but-fair sergeant (Burt Lancaster). You remember--the scene with the two of them embracing on the beach, as the surf crashes in. The supporting players are as good as the leads: Frank Sinatra and Donna Reed won Oscars (and Sinatra revitalized his entire career), and Ernest Borgnine entered the gallery of all-time movie villains, as the stockade sergeant who makes Sinatra miserable. Zinnemann's work is efficient but also evocative, capturing the time and place beautifully, the tropical breezes as well as the lazy prewar indulgence. This one is deservedly a classic. --Robert Horton
It’s funny how your mind can construct. I’m sure I had seen From Here To Eternity. The quintessential scene in glorious Technicolor and illustrious widescreen was etched in my consciousness. It was a film about a forbidden passionate affair where our protagonists fought, against all odds, and gave up everything to be together; culminated by the consummate reckoning of that glorious breaker on the beach. Whoops.
I hadn’t seen From Here To Eternity. It wasn’t in Glorious Technicolor. It wasn’t in illustrious widescreen. It was simple Academy Ratio Black and White. Perhaps this imagined grandeur was, for me, knowing it won a plethora of the golden guy? I don’t know, but what I do know is when the scene in…
Review In A Nutshell:
I never know what to expect when I dive into a classic film, especially one that have won numerous Academy Awards including Best Picture. I always take in consideration of the limitations of a film's release, but if a film fails to interest me even with that, then my confidence towards my feelings of the film is solid. From Here to Eternity left me disappointed due to its inability to create a dramatic impact in its stories and its lack of resonance for contemporary audiences.
The film's plot starts itself off focusing on a young soldier's, Robert Prewitt, struggles of being independent in the army, not allowing his superiors to take control of his life and…
There is a feeling of heavy history-based dread and palpable dramatic irony hanging over the events of Fred Zinnemann's "From Here to Enternity." Taking place in 1941, the Academy Award-winning drama unfolds before the December 7 attack on Pearl Harbor, but the specter of that attack fills the sea air and colors the events of the film for an audience watching in retrospect. Those events are small, personal dramas. They are insignificant wars fought before the real war. With its sense of impending doom, sharply drawn characters, and robust dramatic threads, "From Here to Eternity" makes for a impactful, sometimes searing film.
Taking place on and around a Hawaiian military base, Zinnemann's film weaves together the stories of disparate characters…
Two hopeless lovers embrace while the waves of the beach wash over them. That's From Here to Eternity 's iconic scene, and while it may be classic, is in no way what makes the film a powerful look into the inner affairs of America's World War II army men.
Here's a fantastic performance from Montgomery Clift, before his acting went by the wayside due to trauma from a car accident. Here he performs with remarkable dedication. He combines James Dean's rebellious attitude with the aggressive personality of Marlon Brando. His role as Prewitt has a similar back-story to John Wayne in The Quiet Man . Both are man filled with self-directed fury after accidentally killing a man in the boxing…
There are some classic films – if you’ll forgive me, An American in Paris, Breakfast at Tiffany’s, The Graduate, The Producers – that seem dated today but whose fame has not withered; so indelible are a moment or two, an image, a performance, that the film as a whole has been seared into the public conscience.
From Here to Eternity is one such film. Viewed with fresh eyes, it’s apparent that Fred Zinnemann and company couldn’t quite decide whether Burt Lancaster was a hero or a scoundrel (he is always one or the other, never both), whether Frank Sinatra was meant for comic relief or tragic thrust (a shame the one doesn’t inform the other), or whether Donna Reed was…
This review reportedly contains spoilers. I can handle the truth.
I've heard this movie is one of the best romantic dramas of all time. It's not really (the two leads don't get the girls in the end). However, it is one of the best movies (of any genre) of all time.
There's powerhouse performances from the star-studded cast, from Montgomery Clift, Burt Lancaster, Donna Reed, Deborah Kerr, and Frank Sinatra... seriously Frank Sinatra is really good as both comedic relief and foil to Ernest Borgnine. He totally deserved that Oscar.
Anyways, the cast and performances are totally deserving of plot and script this good. It's witty, but also never sits on anything boring for too long. There's action, romance, comedy, and thrills. What more could you ask for in a film?
I feel like this is so hailed that I feel kind of bad not liking parts of it. It starts out really slow to me, picks up, slows down again, then all of a sudden...ATTACK! Some of the script was god awful to me as well.
However, I watched it and ultimately enjoyed it.
Am the only one that loved the Lancaster/Kerr story 10x more than the rest of the film? Didn't expect Ernest Borgdine in this thing? Also, didn't expect to see Pearl Harbour attack to happen in this thing, felt kind of weird how they ended with that.
Yeah it has that beach scene.
Nota = 5
A classic in every way especially from its famous and passionate kiss on the beach scene. The attack on Pearl Harbor sequence is possibly the best of the film.
Everything about this film is simply functional. Aside from a few great performances, namely from Clift and Sinatra, nothing elevates this from a middle of the road melodrama which strays into dull territory a few too many times. When the script slows down, there is nothing to elevate the film and continue to compel the viewer. It could have used a little visual flair and a better written script.
There are moments in the film that are genuinely compelling, though, and did evoke certain emotions in me. In that way, the film wasn't really a failure. But, aside from the performances, there wasn't much to elevate this past an average movie to me.
great movie till the last ten minutes
Clunkily written, sexist melodrama with a few good performances, a number of poor performances and some paper thin characters. A poor recommendation for post-WW2 revisionist cinema, there is a distinct lack of purpose in any of these characters stories, and how they link to the wartime experience. Lancaster is prone to overacting in his declamatory way, Clift has an enigmatic presence but a hollow character arc and Kerr's character is equally empty. What purpose does the last act attack on Pearl Harbour have to the stories of the 4 protagonists, others than to provide Clift with a reason to ludicrously stagger around bleeding, looking for someone to give him a laughably tragic end?
Sinatra is at least edgy and convincing…
Compelling meldodrama as the small scale dramas of dysfunctional naval base personnel are played out, oblivious to the Sword of Damocles hanging over their lives. When the Japanese attack does come it's almost a moment of relief.
The sharp, cynical script is matched by a uniformly excellent set of lead performances.
Every film that has ever been nominated for an Academy Award in any category. Enjoy!
Originally a list made prior to Cannes 2014, now updated every mid-April.
This is every Palme d'Or nominee since the…