Honestly, it’s rare to find a movie that makes Ernest Hemingway—a man who once wrestled bears and survived two plane crashes in 48 hours—actually lose his cool over a screenplay. But Hollywood has a way of doing that. When you talk about a farewell to arms movie, you’re really talking about a tug-of-war between high-brow literature and the glitz of the studio system.
The story is basically a punch to the gut. An American ambulance driver, Frederic Henry, is serving in Italy during World War I. He meets Catherine Barkley, a nurse who’s already grieving a fiancé lost to the trenches. They fall in love, the war gets messier, and the ending... well, let’s just say it’s not exactly a "happily ever after" situation.
The 1932 Version: Pre-Code and Gritty
Most people don’t realize there are actually two major versions of this story on film. The first one, released in 1932, is a masterpiece. It stars a very young, very vulnerable Gary Cooper and the legendary Helen Hayes.
This was "Pre-Code" Hollywood. That matters.
Basically, the filmmakers could get away with stuff in 1932 that they couldn't touch just five years later. There’s a raw, almost "moody" sexuality to the scenes between Cooper and Hayes. Director Frank Borzage used these incredible, sweeping shots and deep shadows that made the whole thing feel like a fever dream. It won Oscars for Best Cinematography and Best Sound for a reason.
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The ending of this specific a farewell to arms movie is where things get weird, though. Because Hollywood hates a total downer, Paramount actually produced three different endings.
- The tragic one (faithful to the book).
- A "happy" one where Catherine lives.
- An ambiguous one.
Thankfully, the tragic version is the one that stuck around. Watching Gary Cooper walk out into the rain after everything falls apart is still one of the most haunting images in cinema. It’s simple. It’s brutal. It’s Hemingway.
The 1957 Remake: When Bigger Isn’t Better
Fast forward to 1957. David O. Selznick, the guy who produced Gone with the Wind, decided he needed another epic. He cast Rock Hudson and Jennifer Jones.
It was a disaster.
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Selznick was a micromanager of the highest order. He reportedly sent over 10,000 memos during production. He fired the original director, the legendary John Huston, because they couldn't agree on the script. Selznick wanted a sprawling, 152-minute Technicolor romance that focused heavily on his wife, Jennifer Jones. Huston wanted to focus on the war.
The result? A movie that feels bloated. While the scenery in the Italian Alps is gorgeous, the chemistry between Hudson and Jones is... let's just say it's not exactly electric. Rock Hudson later called it the biggest mistake of his career.
Hemingway was famously livid about this one. He hated the casting—Jones was nearly 40 playing a 24-year-old—and he reportedly told Selznick exactly where he could shove the film print.
Which One Should You Actually Watch?
If you’re looking for the definitive a farewell to arms movie, go with the 1932 version. It’s shorter (under 90 minutes) and packs way more of an emotional punch. It feels like the book. It’s got that "Lost Generation" vibe where everyone is just trying to find a scrap of happiness before the world explodes.
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The 1957 version is a curiosity, sure. It’s big and colorful, but it loses the "soul" of the story. It turns a tragic anti-war statement into a soap opera with nice mountains.
Quick Facts for the Film Buffs:
- 1932 Cast: Gary Cooper, Helen Hayes, Adolphe Menjou.
- 1957 Cast: Rock Hudson, Jennifer Jones, Vittorio De Sica.
- The "Rain" Motif: In the book and the '32 film, rain symbolizes death. In the '57 version, it just looks like the special effects team had a high water bill.
- The Rights: Warner Bros. actually traded the rights for this story to Selznick in exchange for the rights to A Star Is Born.
Actionable Insights for Your Next Movie Night
If you want to experience this story the right way, don't just stream the first version you find on a random app.
- Find the BFI Restoration: The British Film Institute did a beautiful restoration of the 1932 film. The blacks are deeper, and the sound is much clearer.
- Watch the POV Shots: Keep an eye out for the scene where Frederic is on a stretcher. The camera becomes his eyes, looking up at the ceilings of the Italian hospital. For 1932, this was mind-blowing tech.
- Read the Last Page First: Seriously. Read the final page of Hemingway’s novel, then watch how the 1932 film interprets it. It’ll give you a whole new appreciation for how they used lighting to mimic his prose.
Skip the 1957 remake unless you're a die-hard Rock Hudson completionist. Stick to the black-and-white grit of the original. It’s shorter, sadder, and much more honest.