Philip Roth

The trouble with the new Selznick version of A Farewell to Arms which stars Rock Hudson as the ambulance driver, Frederick Henry, and Jennifer Jones as the nurse, Catherine Barkley, is that to be the least bit convincing or moving it demands that the viewer help along considerably by recollecting the novel—that he fill out the action, give emotional significance to the landscapes, add dimension to the characters. Otherwise it is a spiritless, silly, and, I fear, embarrassing movie.

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For about half the picture, the hero of The Bridge on the River Kwai is a British Colonel (Alec Guiness) whose depth of courage and sense of duty is at once touching, magnificent, and comic. Part of the success of The Bridge is that its courageous hero is shown from all angles, in all kinds of mirrors. He is strong, stubborn, fallible, maniacal, silly, and wise; and in the end he is pathetic, noble, and foolish. It is as the picture progresses that you become increasingly aware of the complexity—the pathos, the foolishness, the nobility—of the Colonel’s actions.

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For about half the picture, the hero of The Bridge on the River Kwai is a British Colonel (Alec Guinness) whose depth of courage and sense of duty is

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