Papa Hemingway is something of a
“stranger than fiction” story about Denne Bart Petitclerc, journalist, and
screenwriter for this film. As a
young child he had been abandoned by both his parents, ran away from the
orphanage where his mother had placed him, and managed to get a job as a sports
reporter. However, his spelling
and grammar were so atrocious, he was fired. Undeterred, he bugged his employer
for so long, he got his job back with strict terms, and to educate himself, he
wrote out Hemingway’s stories, which taught him spelling, grammar, how to tell
a story, and “to see”, he said.
So
Hemingway was his idol, and to let him know how much he had influenced his
life, he wrote a letter of appreciation to the famous writer. To his surprise, Hemingway called him on the phone,
complimenting him on the letter and the articles he had written for the Miami Herald, where he was employed at
the time, and inviting him for a visit to Havana, Cuba, where Hemingway and his
wife Mary (Richardson) lived.
The
Petitclerc character in the film is named Ed Myers (played by Ribisi), but when
he arrives in Havana, Hemingway calls him “The Kid”, and that’s pretty much his
name throughout the film. This is
except for an office romance with Debbie (Kelly), who perceptively recognizes
that he is afraid to send the letter to Hemingway so mails it without telling
him, and the two develop a strong bond.
Both
the Hemingways are entranced with and admiring of the young journalist, and
invite him back to their luxurious home on the island over and over again. This part of the story, which takes
place in the late ‘50s, is during the time Batista is in power, just before and during the
revolution led by Che Guevara and Fidel Castro.
The film gives us a picture of political unrest (for which Hemingway
says there is no solution—“Hay no remedio”), but which, interestingly,
parallels a violent unrest in the marriage of the Hemingways as well. Young Eddie is appalled, but like many
children who feel some responsibility for their parents’ well being, he tries
desperately to help. Papa
Hemingway (and actually Mary too) have become the parents he never had.
America’s
involvement in the Cuban revolution and its support of the Batista regime is
touched upon in the movie, with the FBI cast in an unflattering light (likely
true, however). Someone high in
the U.S. government is after Hemmingway and wants him to be discredited, and we
find out why—one of those dark pages in American history.
I
found this film engaging and interesting.
Not only does it fill us in on a bit of political history and shed light
on a famous author, it has soul, in
that it has something to say about life and the things we need to treasure,
like family, friends, and loyalty—as well as Hemingway’s dictum: “The only value we have as human beings
is in the risks we’re willing to take.”
The
movie was filmed in Cuba, including within the Hemingway’s house (now a museum), and
the landscape is as beautiful as a travelogue. Cinematography by Ernesto Malara and music by Mark Isham
contribute to the quality. Rabisi
and Sparks embody their characters poignantly, along with Shaun Taub as Evan
Shipman, the poet. Although Joely
Richardson is a fine actress, her portrayal of Mary was rather lifeless during
distressful moments (not convincing as a woman whose aggression comes out with
alcohol), but during sunny moments, she was alluring.
An intriguing look at Hemmingway by a
journalist/friend.
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