From Here to Eternity

1953

Action / Drama / Romance / War

10
Rotten Tomatoes Critics - Certified Fresh 92%
Rotten Tomatoes Audience - Upright 84%
IMDb Rating 7.7 10 38025

Synopsis


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Director

Cast

Frank Sinatra as Angelo Maggio
Burt Lancaster as Sgt. Milton Warden
Donna Reed as Alma aka Lorene
Ernest Borgnine as Sgt. 'Fatso' Judson
720p.BLU 1080p.BLU
848.92 MB
1280*952
English
NR
23.976 fps
1hr 58 min
P/S 0 / 6
1.78 GB
1440*1072
English
NR
23.976 fps
1hr 58 min
P/S 2 / 13

Movie Reviews

Reviewed by Spikeopath 10 / 10

Masterpiece, a lesson in characterisation and story telling.

James Jone's novel was deemed impossible to put onto the screen {how many times have we heard that one before?}, but nobody told director Fred Zinnerman and the cast of dreams. Troubles with the making of the film were many, the film was thwarted by a censorship requirement that the army not be portrayed as careless and over brutal, and some of the sexual themes from the novel had to be toned down. Zinneman also had to fight a continuous battle with Columbia's head ego tripper Harry Cohn. He interfered with every script that was shown to him, and casting was also a tough thing to achieve with Cohn trying to call the shots. As it turned out we got one of the best composition of actors in one film to have ever graced the screen.

From Here To Eternity is a film about the lives and loves of a number of characters at Schofield Barracks-Pearl Harbor, just prior to the infamous attack by the Japanese that changed WW2. Illicit affairs, friendship, nobility, bravery and cruelty come crashing together in one gigantic lavish production that defines the word classic. Burt Lancaster, Montgomery Clift, Frank Sinatra, Ernest Borgnine, Jack Warden, Deborah Kerr, and Donna Reed all give performances that any other actor would be proud to have given. On another day they all could have won awards such was the strength of performance they all gave. Reed & Sinatra won best supporting Oscars, while Fred Zinneman rightly won for best director to cement the film winning outright for best picture. Yet the film's crowning glory didn't win an award, for to me, Montogomery Clift gives one of the best performances in motion picture history, it's layered to perfection and it's one of those character portrayals that has me involved to the point of exhaustion. One scene in which he plays a bugle lament as tears roll down his face is just stunning, and I know how he feels because I cry along with him to, such is my involvement with his turn as Robert E. Lee Prewitt.

Laced with memorable scenes {the kiss, the bugle lament, Lancaster blasting away at the Japanese planes with machine gun in hand}, and performances to match, From Here To Eternity is essential cinema to be viewed every year and homaged and praised whenever possible. 10/10 in every single respect.

Reviewed by HotToastyRag 8 / 10

Fantastic wartime classic

Even if you've never seen From Here to Eternity, I can guarantee you've seen one very famous scene. You know the black-and-white makeout scene on the beach that's been spoofed and referenced hundreds of times since? The two actors kissing are Burt Lancaster and Deborah Kerr in From Here to Eternity.

This is a WW2 movie, and one of the best classic war films, even though there are no scenes on the battlefield. Montgomery Clift, a recent transfer to the Hawaiian army base, has a reputation for being a good boxer, but he refuses to continue fighting at his new base. To punish him for his refusal, the captain makes his life miserable to hopefully wear him down. If you want the captain to "get his", read on. The captain's wife, Deborah Kerr, has an affair with a sergeant, Burt Lancaster. In the meantime, Monty and his army pal Frank Sinatra frequent a nightclub on their nights off. While Monty finds love with a prostitute, Frankie manages to anger the very mean and violent Ernest Borgnine.

See, there's plenty of drama without stepping foot on the battlefield! From Here to Eternity is a very famous movie, but it's also a fantastic one. Deborah Kerr bleached her famously red locks and tried on an American accent for the role, a seductive type she wasn't used to playing. Donna Reed, as goody-two-shoes as it gets, plays the hardened hooker Monty falls for. She won an Oscar for her against-type performance, paving the way for other good girls like Shirley Jones, who also won an Oscar when she went against type and played a prostitute in Elmer Gantry. Frank Sinatra also won an Oscar for this movie, but it's far from his best performance. He himself always said he should have won his Oscar for The Man with the Golden Arm. Montgomery Clift and Burt Lancaster, while in very different situations in the film, both fall in love with women they shouldn't, and try to stand up for their convictions even when it's difficult. It's great to see the different acting styles: Monty with the word "conflicted" tattooed on his forehead, and water boiling beneath his sensitive reserve, and Burt with gritted teeth and lava simmering beneath his strength.

At the 1954 Oscars, the film swept Best Picture, Director, Screenplay, Sound, Editing, Cinematography, and Supporting Actor and Actress awards. While Burt and Monty were pitted against each other for Best Actor, William Holden beat them out in the overrated Stalag 17. Deborah Kerr, who never won a competitive Oscar, lost to the ridiculous performance of Audrey Hepburn in Roman Holiday.

Reviewed by JohnHowardReid 10 / 10

An absolute must-see!

Copyright 15 September 1953 by Columbia Pictures Corp. New York opening at the Capitol: 5 August 1953. U.S. release: September 1953. U.K. release: 25 January 1954. Australian release: 15 October 1953. Sydney opening at the State. Full-length 118-120 minutes version shown in North America and Australia. Censored to 114 minutes in the U.K.

Best Film of 1953 — annual Film Daily poll of over 500 American film critics. Best Film of 1953 — annual Photoplay Gold Medal Award, as voted by over three million North American picture-goers. Best Motion Picture of 1953 — New York Film Critics. Best Male Performance of 1953, Burt Lancaster — New York Film Critics. Best Direction of 1953, Fred Zinnemann — New York Film Critics.

The National Board of Review cast a dissenting note by voting "From Here To Eternity" into 3rd position behind "Julius Caesar" and "Shane". With a domestic rentals gross of $12.2 million, 3rd at the U.S./Canadian box-office to "The Robe" and "This Is Cinerama". One of the top twenty movies at U.K. ticket windows for 1954. A colossal money-spinner in Australia, the film came in 3rd to "The Greatest Show On Earth" and "Shane". Most Outstanding Directorial Achievement of 1953, Fred Zinnemann — Screen Directors Guild Award. Best Film of 1953 — Golden Globe Award.

COMMENT: Zinnemann himself persuaded Montgomery Clift to undertake the pivotal role of Prewitt, ex-bugler, ex-boxer and professional soldier. He has been transferred to Schofield Barracks, Honolulu, where he refuses to join his company's boxing team despite Captain Philip Ober's determination to win the regimental championship. Ober orders Sergeant Burt Lancaster to give Clift "the treatment".

Prewitt's spirit is sustained partly by his buddy, Frank Sinatra, who is beaten to death by a sadistic sergeant, Ernest Borgnine. Even this does not break Prewitt, whose girl, a prostitute from the New Congress Club (played by Donna Reed), cannot understand his loyalty. "What'd the army ever do for you, except treat you like dirt?" she asks bitterly, as he prepares to return to his company after the Pearl Harbor attack. To which Prewitt replies very simply: "What do I want to go back to the army for? I'm a soldier."

The screenplay retains all the violence and pace of the novel, whilst eliminating much of its vulgarity and a little of its sex. Taradash has enormously improved the narrative structure, giving it a compactness and a polish that is lacking in James Jones's sprawling original. To it, Zinnemann has added his own refined craftsmanship. He has drawn superlative portrayals from his cast (Deborah Kerr's performance is possibly the best of her career), taut images from his wide-screen camera, and has effectively re- employed the editing devices of "High Noon". — John Howard Reid in "A Man for All Movies: The Films of Fred Zinnemann".

AVAILABLE on an excellent Sony DVD.

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