Ernest Hemingway’s works are often regarded as unadaptable, their nuanced prose and complex characters proving challenging for filmmakers. However, Paula Ortiz’s adaptation of “Across the River and Into the Trees” manages to capture the essence of Hemingway’s writing, largely thanks to a masterful performance by Liev Schreiber. Ortiz’s subtle direction, combined with Schreiber’s understated portrayal of Colonel Richard Cantwell, turns this film into a meditation on mortality, memory, and the haunting beauty of Venice.
A Subtle Exploration of Trauma and Closure
Set against the backdrop of post-World War II Venice, “Across the River and Into the Trees” follows Colonel Richard Cantwell, an American Army officer grappling with the dual weight of illness and unresolved trauma. Schreiber’s portrayal of Cantwell is a study in restraint, a character who, despite his physical and emotional scars, navigates his final days with a quiet dignity. Schreiber’s nuanced performance avoids the clichés often associated with war veterans, offering a more introspective and humanized depiction.
The film’s narrative revolves around Cantwell’s journey to Venice, ostensibly for a duck hunt but truly seeking closure in a city where he experienced profound trauma. This quest for peace leads him to Renata, a young woman who becomes his companion and confidante. Ortiz wisely sidesteps the potential pitfalls of an age-gap romance by focusing on the emotional needs of both characters rather than reducing their relationship to a mere final fling. The interactions between Cantwell and Renata are contemplative and tender, allowing the characters to explore their respective fears and desires against the backdrop of Venice’s serene beauty.
Atmosphere as a Character
Venice, often referred to as a character in its own right, is captured with a naturalistic approach by Ortiz and her cinematographer, Javier Aguirresarobe. The film’s use of mostly natural light and handheld cameras enhances the sense of intimacy and immediacy, immersing the audience in the unique atmosphere of the city. The decision to shoot in 4:3 aspect ratio for most of the film, expanding to widescreen during flashbacks, is a bold stylistic choice that reinforces the thematic exploration of how trauma constrains and narrows one’s world. However, this choice also risks drawing too much attention to itself, occasionally disrupting the film’s otherwise immersive experience.
The Power of Hemingway’s Words
The screenplay, crafted by BAFTA Award-winning writer Peter Flannery, strikes a delicate balance between Hemingway’s gruff, economical prose and the lyrical beauty of the setting. The dialogue often carries the weight of Hemingway’s themes, such as the inescapability of death and the search for meaning in a world marred by war. Lines like “I have death sewn into the lining of my clothes, son,” resonate deeply, embodying the existential musings typical of Hemingway’s characters.
Schreiber’s Cantwell is not just a war-weary soldier; he’s a relic of a bygone era, navigating a world that has changed irreversibly. His performance captures the complex interplay of strength and vulnerability that defines many of Hemingway’s protagonists. Rather than overtly charting Cantwell’s redemption, the film allows Schreiber to convey the character’s inner transformation through subtle shifts in tone, body language, and expressions. This approach not only avoids the pitfalls of more explicit and less believable arcs but also stays true to the introspective nature of Hemingway’s work.
A Performance to Remember
While the film’s visual style and narrative choices may not resonate with everyone, Liev Schreiber’s performance is undoubtedly the heart of “Across the River and Into the Trees.” His portrayal of Colonel Richard Cantwell is a masterclass in restraint, capturing the internal struggle of a man haunted by his past while trying to make peace with his present. Schreiber’s ability to convey deep emotion without resorting to melodrama ensures that Cantwell’s journey is both poignant and authentic.
In the end, “Across the River and Into the Trees” is a film that invites viewers to eavesdrop on the quiet, reflective moments of a man’s life as he confronts his mortality. It’s a film that lingers in the mind, much like the city of Venice itself—a place where beauty and pain coexist, often in the same breath.
Final Thoughts
Paula Ortiz’s adaptation of Hemingway’s “Across the River and Into the Trees” is a graceful and contemplative film that benefits greatly from Liev Schreiber’s nuanced performance. While the film’s stylistic choices may be polarizing, its exploration of trauma, closure, and the fleeting nature of life is deeply resonant. For those who appreciate character-driven dramas and the introspective themes of Hemingway’s writing, this film is a must-see.
Rating: 7.5 out of 10 stars
With its thoughtful direction and powerful central performance, “Across the River and Into the Trees” stands as a worthy adaptation of one of Hemingway’s lesser-known works, offering a poignant meditation on life, death, and the places that shape us.