From Here to Eternity

Most people consider From Here to Eternity (1953) an all-time classic, an opinion I can't second. Fred Zinnemann's adaptation of the racy James Jones novel certainly has its appeal, from the great cast to its ace director and some inspired moments. But this tale of star-crossed love in pre-World War II Hawaii is so soapy and maudlin that it's hard to take it seriously.

Private Robert E. Lee Pruitt (Montgomery Clift) arrives at Schofield Army Barracks in Hawaii. He was the championship boxer in another unit, but a tragedy dissuades him from ever fighting again. Captain Holmes (Philip Ober) is more interested in intra-squad boxing than military duty, allowing his subordinates to ride herd on Pruitt until he gives in. The Captain's aide Sergeant Warden (Burt Lancaster) carries on an affair with Holmes' wife Karen (Deborah Kerr). Pruitt endures his rough treatment, befriends amiable Private Maggio (Frank Sinatra) and romances Loreen (Donna Reed), but still can't fit in. Pruitt is forced to stand up for himself, Warden and Karen debate what they can do, while Maggio runs afoul of "Fatso" Judson (Ernest Borgnine), the sadistic Sergeant-at-Arms for the base stockade. It takes the Japanese attack on Pearl Harbor to resolve these conflicts, albeit unsatisfactorily.

From Here to Eternity had its edges dulled by censorship, but the film is still extremely racy for a Hayes Code-era film. Burt Lancaster and Deborah Kerr's embrace in the surf became justifiably iconic, about as explicit as Classic Hollywood could get about sex. The movie skirts with edgy material in other ways: the tastefully-disguised whorehouse, Judson calling Maggio a "wop," a rough and dirty knife fight. Add Zinnemann's ace direction and a stellar cast, and it's easy to see how Eternity earned its reputation.

The edginess and artistry can't entirely overcome Eternity's overbaked drama. The movie plays as a slew of contrived situations and broad characters. Daniel Taradash's script telegraphs obvious payoffs: no matter how reluctant Pruitt is to box, we know the gloves will come off down the line. Pruitt isn't a convincing character, his claim that he "loves the army" in spite of his hazing comes off as dopey. Even the more convincing protagonists are painted in broad strokes. The high tragedy angle doesn't really work: while relatively honest with Pruitt and Loreen's difficult relationship, Zinnemann fails in selling Warden and Karen's lusty affair as an epochal romance. Two leads get killed in scenes more pathetic than tragic.

The main reason to watch Eternity is the cast, surely one of the best ever assembled. Burt Lancaster is near-perfect as a lothario and a career soldier frustrated by a worthless desk job. Montgomery Clift (Red River) makes the most of a character who, frankly, is rather hard to swallow. Deborah Kerr (The Life and Death of Colonel Blimp) gives her best Hollywood performance, playing against type as a sexually frustrated housewife. Donna Reed (They Were Expendable) is so charming and vulnerable, one easily forgets she's supposed to be a good-time girl.

The movie also provided a boost to many careers. Frank Sinatra shot to movie stardom with his tailor-made role: he only matched it in The Manchurian Candidate. Rumor claims that mob connections got Sinatra the part but one really can't imagine another actor (least of all Eli Wallach!) as Maggio. Ernest Borgnine earned a career out of his bit as a bug-eyed creep: "Hello, Tough Monkey!" Jack Warden (All the President's Men) plays a friendly Sergeant and lots of familiar faces fill in small parts: Philip Ober, George Reeves, Carleton Young, Claude Akins, Robert J. Wilke.

From Here to Eternity is a mixed bag. Groggy's not immune to well-made melodrama (Brief Encounter, anyone?) but this movie's contrived dramatics are often hard to stomach. That doesn't mean the film is without its charms.