FROM HERE TO ETERNITY [1953 / 2013] [Blu-ray] [USA Release]
The Boldest Book of Our Time! The Winner of Eight Academy Awards!

In this landmark film, passion and tragedy collide on a military base as a fateful day in December 1941 draws near. Private Prewitt [Montgomery Clift] is a soldier and former boxer being manipulated by his superior and peers. His friend Maggio [Frank Sinatra] tries to help him but has his own troubles. Sergeant Warden [Burt Lancaster] and Karen Holmes [Deborah Kerr] tread on dangerous ground as lovers in an illicit affair. Each of their lives will be changed when their stories culminate in the Japanese attack on Pearl Harbor.

FILM FACT No.1: Awards and Nominations: 1953 New York Film Critics Circle Awards: Win: Best Film. Win: Best Director for Fred Zinnemann. Win: Best Actor for Burt Lancaster. 1954 Academy Awards®: Win: Best Picture for Buddy Adler. Win: Best Actor in a Supporting Role for Frank Sinatra. Win: Best Actress in a Supporting Role for Donna Reed. Win: Best Director for Fred Zinnemann. Win: Best Writing for a Screenplay for Daniel Taradash. Win: Best Cinematography in Black-and-White for Burnett Guffey. Win: Best Sound Recording for John P. Livadary (Columbia SSD). Win: Best Film Editing for William A. Lyon. Nominated:  Best Actor in a Leading Role for Montgomery Clift. Nominated: Best Actor in a Leading Role for Burt Lancaster. Nominated: Best Actress in a Leading Role for Deborah Kerr. Nominated: Best Costume Design in Black-and-White for Jean Louis. Nominated: Best Music Scoring of a Dramatic or Comedy Picture for George Duning and Morris Stoloff. 1954 Golden Globes: Win: Best Director for Fred Zinnemann. Win: Best Supporting Actor for Frank Sinatra. 1954 BAFTA Film Awards: Nominated: Best Film from any Source USA. 1954 Bambi Awards: Win: International Film. 1954 Cannes Film Festival: Win: Special Award for Fred Zinnemann. Nominated: Grand Prize of the Festival for Fred Zinnemann. 1954 Directors Guild of America: Win: Outstanding Directorial Achievement in Motion Pictures for Fred Zinnemann and Earl Bellamy (assistant director) (plaque). 1984 Golden Screen, Germany: Win: Golden Screen Award. Win: Golden Screen Award with 1 Star. 1954 Photoplay Awards: Win: Gold Medal Award. 1954 Writers Guild of America: Win: Best Written American Drama for Daniel Taradash.

FILM FACT No.2: In 2002, ‘FROM HERE TO ETERNITY’ was selected for preservation in the National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant." Hollywood legend has it that Frank Sinatra got the role in the film by means of his alleged Mafia connections, and it was the basis for a similar subplot in ‘The Godfather.’ However, that has been dismissed on several occasions by the cast and crew of the film. Director Fred Zinnemann commented that "the legend about a horse's head having been cut off is pure invention, a poetic license on the part of Mario Puzo, who wrote “The Godfather." One explanation of Frank Sinatra's casting is that his then-wife Ava Gardner persuaded studio head Harry Cohn's wife to use her influence with him; this version is related by Kitty Kelley in her Sinatra biography. Joan Crawford and Gladys George were offered roles, but Gladys George lost her role when the director decided he wanted to cast the female roles against type, and Joan Crawford's demands to be filmed by her own cameraman led the studio to take a chance on Deborah Kerr, also playing against type. Kim Stanley heavily campaigned for the role of Lorene. The on-screen chemistry between Burt Lancaster and Deborah Kerr may have spilled off-screen; it was alleged that the stars became sexual partners during filming. Two songs are noteworthy: "Re-Enlistment Blues" and "From Here to Eternity" by Robert Wells and Fred Karger.

Cast: Burt Lancaster, Montgomery Clift, Deborah Kerr, Donna Reed, Frank Sinatra, Philip Ober, Mickey Shaughnessy, Harry Bellaver, Ernest Borgnine, Jack Warden, John Dennis, Merle Travis, Tim Ryan, Arthur Keegan, Barbara Morrison, Claude Akins (uncredited), Vicki Bakken (uncredited), Margaret Barstow (uncredited), Henry Beau (uncredited), Willis Bouchey (uncredited), John Bryant (uncredited), Mary Carver (uncredited), John Cason (uncredited), Mack Chandler (uncredited), John Davis (uncredited), Don Dubbins (uncredited), Elaine DuPont (uncredited), Moana Gleason (uncredited), Robert Healy (uncredited), Douglas Henderson (uncredited), Lars Hensen (uncredited), June Horne (uncredited), James Jones (uncredited), Robert Karnes (uncredited), Manny Klein (uncredited), Edward Laguna (uncredited), Carey Leverette (uncredited), Weaver Levy (uncredited), William Lundmark (uncredited), Freeman Lusk (uncredited), Tyler McVey (uncredited), Kristine Miller (uncredited), Patrick Miller (uncredited), Robert Pike (uncredited), George Reeves (uncredited), Joe Roach (uncredited), Fay Roope (uncredited), Delia Salvi (uncredited), Louise Saraydar (uncredited), Alvin Sargent (uncredited), Joseph Sargent (uncredited), Joan Shawlee (uncredited), Al Silvani (uncredited), Angela Stevens (uncredited), Brick Sullivan (uncredited), John Veitch (uncredited), Guy Way (uncredited), Norman Wayne (uncredited), Robert J. Wilke (uncredited), Jean Willes (uncredited), Norman Wright (uncredited) and Carleton Young (uncredited)

Director: Fred Zinnemann

Producer: Buddy Adler

Screenplay: Daniel Taradash (screenplay) and James Jones (based upon the novel)

Composer: George Duning (background music)

Cinematography: Burnett Guffey, A.S.C. (Director of Photography) and Floyd Delafield Crosby, A.S.C. (uncredited)

Image Resolution: 1080p (Black-and-White)

Aspect Ratio: 1.37:1

Audio: English: 5.1 DTS-HD Master Audio
English: 1.0 Dolby Digital Mono Audio (Original)
French: 1.0 Dolby Digital Mono Audio
German: 1.0 Dolby Digital Mono Audio
Italian: 1.0 Dolby Digital Mono Audio
Japanese: 1.0 Dolby Digital Mono Audio
Português: 1.0 Dolby Digital Mono Audio
Spanish [Castilian]: 1.0 Dolby Digital Mono Audio
Spanish [Latin America]: 1.0 Dolby Digital Mono Audio
English: 2.0 Dolby Digital Stereo Audio

Subtitles: English, French, Spanish, Portuguese, Japanese, German, Arabic, Czech, Danish, Dutch, Finnish, Hebrew, Hindi, Italian, Korean, Mandarin (Traditional), Norwegian, Polish, Swedish, Thai and Turkish

Running Time: 118 minutes

Region: All Regions

Number of discs: 1

Studio: Columbia Pictures / SONY Pictures Home Entertainment

Andrew's Blu-ray Review: Big novels often morph into big films during Hollywood's heyday, and ‘FROM HERE TO ETERNITY’ was one of the biggest of its time. Though initially dubbed “Cohn's folly” after Columbia Pictures studio chief Harry Cohn paid a tidy sum for what many considered to be a too-hot-to-handle property, this all-star adaptation of James Jones' bestselling opus about life on a Hawaiian army base in the months before the Japanese attack on Pearl Harbor proved all the doubters wrong when it became a critical and popular sensation upon its release in the summer of 1953. Seamlessly combining grit, brawn, romance, and a climactic aerial assault, the film also helped usher in a new era of adult-themed motion pictures that pushed the boundaries of censorship, challenged the sanctity of American institutions (in this case, the U.S. Army), and realistically depicted complex human relationships. Sure, the script severely waters down the novel's raciness, crudity, and violence, yet it maintains the tough-minded tone and core thematic elements that make the story so involving. And maybe that's why this bona fide classic continues to impress and move us six decades after it first stormed onto the screen.

‘FROM HERE TO ETERNITY’concentrates on character, values, ideals, injustices, and interpersonal couplings instead of detailing the history and impact of the monumental event, Fred Zinnemann's film paints a far more accurate portrait of life and duty in the days leading up to the 7th December, 1941 than Michael Bay's mind numbing blockbuster treatment. Fred Zinnemann's understated style also suits the material well, shrinking the tale's broad scope to an intimate level, thus enhancing emotional resonance. Prior to ‘FROM HERE TO ETERNITY,’ military dramas and soap operas were mutually exclusive, but the supremely talented Fred Zinnemann manages to blend the two into a cohesive whole, giving the movie universal appeal and coining a style that would be endlessly copied, but rarely equalled.

And then there's that classic beach scene. Who knew a single shot of the Hawaiian surf cascading over the interlocked bodies of Deborah Kerr and Burt Lancaster (see the beautiful slip cover art) would test the tolerance of the censors and immediately become one of the most iconic images in all of cinema history? Though the sequence instantly identifies the film and cements its romantic status, it doesn't define it. The theme of a lone wolf standing up against the establishment and sticking to his beliefs at great physical and emotional cost is what truly distinguishes 'From Here to Eternity,' and the message gains even more power when viewed in the context of the time, when the country was still gripped by the McCarthy witch hunts, and criticisms of any government entity were tantamount to treason.

The lone wolf in the film is the newly demoted Private Robert E. Lee “Prew” Prewitt [Montgomery Clift], a transfer from the esteemed Bugle Corps, who's assigned to serve at Schofield Barracks under the arrogant, unscrupulous Captain Dana Holmes [Philip Ober]. Obsessed with the championship of the regimental boxing team he coaches, Karen Holmes [Deborah Kerr] pulled some strings to snag Private Robert E. Lee “Prew” Prewitt, whose reputation as a top-class middleweight preceded him. Yet Private Robert E. Lee “Prew” Prewitt refuses to join the team for personal reasons (which becomes much clearer later on), much to the chagrin of his commanding officer, who authorises the company's sergeants to give the recalcitrant private “the treatment,” a punitive going-over that includes bullying, extra duty, and other forms of abuse. Private Robert E. Lee “Prew” Prewitt, however, refuses to buckle under the constant strain. “A man don't go his own way, he's nothin';” is a line Private Robert E. Lee “Prew” Prewitt lives by, and it applies to other characters as well, most notably Private Robert E. Lee “Prew” Prewitt's best buddy, Angelo Maggio [Frank Sinatra], whose cocky, street-wise attitude and disregard for authority get him more trouble than he bargains for, and Captain Holmes' right-hand man, Staff Sergeant Milton Warden [Burt Lancaster], who enters into a passionate and risky affair with Holmes' neglected and bitter wife, Karen Holmes [Deborah Kerr]. Private Robert E. Lee “Prew” Prewitt also finds love and comfort in the arms of Alma “Lorene” Burke [Donna Reed], a stuck-up “hostess” with a heart of gold in a USO type social club in the book, she's a “lady of ill repute” who longs to leave her tawdry existence behind and become “proper.”

Despite the story's anti-military slant, the movie was produced with the cooperation of the U.S. Army, which only demanded a couple of script changes before endorsing the project. Fred Zinnemann and Daniel Taradash reluctantly agreed to the alterations, and the army seal of approval goes a long way toward validating the on-screen action. After years of shamelessly laudatory propaganda films produced during World War II, it's refreshing to see such a warts-and-all portrait of a military body, which is depicted here as a mini totalitarian state where absolute power corrupts absolutely and integrity is only valued under optimal circumstances.

Fred Zinnemann wisely adopts a straightforward cinematic style, allowing the story to tell itself, and concentrates instead on the actors, all of whom assert themselves admirably. All five principals earned Oscar nominations (that's quite a feat!), and it's a shame Montgomery Clift didn't win for his stoic yet sensitive portrait of the hard-headed Private Robert E. Lee “Prew” Prewitt. An actor with the same blistering intensity and broad range as Marlon Brando and James Dean, Montgomery Clift is a magnetic presence who gets under the skin of his characters, exposing their heart and soul in a measured, understated manner. His work here ranks among his best, and it's impossible to imagine anyone else as Private Robert E. Lee “Prew” Prewitt.

Burt Lancaster plays the macho Warden well, and generates plenty of heat with Deborah Kerr, who at the time was cast against type as the adulterous Karen Holmes. Hers is a passionate performance, filled with spirit and heartbreak, and it forever changed the course of her career, instantly shattering her patrician good girl image and allowing her to graduate to more dimensional and challenging roles. The actor-singer Frank Sinatra, who had hit rock bottom professionally, lobbied incessantly for the role and offered to do it for nothing. After a screen test he financed himself, and Frank Sinatra got the job and was paid a paltry $8,000 for his services, but his resulting success (and subsequent Oscar®) completely revitalized his career, which never went south again.

A (relatively) young Ernest Borgnine makes a notable impression as “Fatso” Judson, the sadistic stockade sergeant who harbours a grudge against Private Angelo Maggio [Frank Sinatra], and Jack Warden, Claude Akins (in his film debut), and TV's original “Superman,” George Reeves, also appear in small parts. But aside from Montgomery Clift, the most riveting presence in ‘FROM HERE TO ETERNITY’ is surprisingly Donna Reed, who sheds her perfect wife persona, spawned from the holiday classic 'It's a Wonderful Life,' and sinks her teeth into the pouty, haughty, yet deceptively vulnerable Lorene. Devoid of histrionics and affectation, Reed's nuanced portrayal is about as real and raw as they come, and certainly deserving of the Oscar® it received.

Though there's not much war in ‘FROM HERE TO ETERNITY,’ Fred Zinnemann's film stands as one of the great war films, for it depicts not only the attack on Pearl Harbor, but also more importantly the battle of the human spirit to maintain its integrity, follow its duty, and fight for its beliefs. The producers of ‘FROM HERE TO ETERNITY’ wanted a “serious” actor such as Eli Wallach in the role of Maggio. But Sinatra saw a wonderful opportunity to prove what he was really capable of doing. So he began lobbying for the part, even calling Columbia studio head Harry Cohn personally, only to be dismissed with “You're a singer.” In desperation, Frank Sinatra lowered his price to $1,000 a week. In the end, his price, persistence and scheduling changes in the competition won him the role. Crashing waves notwithstanding, this is a substantive classic film that earns its stripes, as well as its rarefied standing in Hollywood history. Keep an eye out for George Reeves, whose role was trimmed when audiences laughed at the incongruity of seeing TV's “Superman” in the film. Guitar great Merle Travis also contributed towards the music.


RE-ENLISTMENT BLUES (1953) (Written by James Jones, Fred Karger and Robert Wells) [Sung by men in the barracks twice] [Played often in the film score]

TAPS (1862) (uncredited) (Music by Daniel Butterfield) [Played by a bugler at bedtime] [Reprised on bugle by Private Lee]

CHATTANOOGA CHOO CHOO (1941) (uncredited) (Music by Harry Warren) [Hummed by Frank Sinatra]

THE HUT-SUT SONG (1939) (uncredited) (Written by Leo Killion, Ted McMichael and Jack Owens) [Played on piano by Fatso]

SERENADE IN BLUE (1942) (uncredited) (Music by Harry Warren)

HAUNANI (uncredited) (Music by Randy Oness) (Lyrics by Jack Pitman)

BEER BARREL POLKA (Roll Out the Barrel) (1927) (uncredited) (Music by Jaromir Vejvoda) [Played on piano by Fatso]

PENNIES FROM HEAVEN (1936) (uncredited) (Music by Arthur Johnston) [Played off-screen on the piano at the club]

ALOHA OE (1908) (uncredited) (Music by Queen Liliuokalani) [Sung by Liselotte Malkowsky]

I WANT TO BE A COWBOY’S SWEETHEART (uncredited) (Written by Patsy Montana) [Instrumental played by Hawaiian bar band in the background while Prewitt and Alma are talking and are joined by Maggio, who is very drunk]

I GOT HOOKED AT A HUKILAU (uncredited) [Performed by Danny Stewart and His Islanders]

I’LL SEE YOU IN HAWAII (uncredited) [Performed by Danny Stewart and His Islanders]

NOHEA (uncredited) [Performed by Danny Stewart and His Islanders]

MAGIC HANDS (uncredited) [Performed by Danny Stewart and His Islanders]

MAUI GIRL (uncredited) [Performed by Danny Stewart and His Islanders]

Blu-ray Image Quality – Fans of ‘FROM HERE TO ETERNITY’ has waited patiently for its Blu-ray release, and will certainly want to ditch their previous inferior DVD format for this high-quality 1080p image transfer. The biggest difference between this high-definition rendering and the Super-bit DVD is the pristine nature of the source material, which has been scrubbed clean. Gone are the multitudes of nicks and marks that littered the previous print, leaving a clear, vibrant image that sports excellent grey scale variance and a natural grain structure that enhances the film's realism. Black levels are rich and inky (just look at Lorene's lush gown in her opening scene), with only a hint of crush occasionally creeping into the frame's darkest recesses, and bright whites balance nicely against the neutral greys. Day-for-night sequences look especially well defined, and patterns, such as Karen's striped shirt and the checkerboard table cloth in her bungalow, remain rock solid and resist shimmering. Gritty, naturalistic photography has always lent ‘FROM HERE TO ETERNITY’ a harsh, cold look, but clarity is still excellent, even in the rougher-looking exterior scenes. The detail in the Hawaiian shirts worn by the soldiers is striking, and close-ups are marvellously crisp, highlighting the male actors' rugged facial features and female leads' creamy complexions. Montgomery Clift's double in the fight scene with Sergeant Galovitch [John Dennis] is even easier to identify now, and the raindrops that douse Burt Lancaster early in the film are sharp and distinct. Without question, 'From Here to Eternity' looks better here than in any other home video incarnation, so an upgrade is essential for fans.

Blu-ray Audio Quality – The 5.1 DTS-HD Master Audio experience also ups the ante aurally, providing superior sound, especially during the climactic aerial attack. Though only minimal surround activity could be detected early in the film, mostly in the ambient effect category, the assault sequence kicks the mix into high gear, with speeding planes soaring overhead and across the soundscape, lending certain shots a thrilling immediacy. The hefty rumble of bombs shakes the room, and rapid machine gun fire also gives the subwoofer a nice workout. Yet as much as the showy sounds shine, so, too, do the subtle nuances. The driving tropical rain, the sound of weeds being yanked out of the grass, even the hairbrush coursing through Deborah Kerr's blond locks all possess a distinct texture that adds essential atmosphere to various scenes. The music, which runs the gamut from romantic, string-laden love themes and the lazy drawl of the folksy “Reenlistment Blues” to Fatso's sloppy piano tinkling and Prewitt's organic bugling in the bar, flaunts a high degree of fidelity and tonal depth, and thanks to a wide dynamic scale, distortion is never an issue. Dialogue is always clear and comprehendible, and any age-related imperfections, such as pops, crackles, and hiss, have been meticulously erased. 'From Here to Eternity' may be 60 years old, but this crystal clear, well-modulated track often makes it sound much younger, and helps this classic motion picture relate to contemporary audiences.

Blu-ray Special Features and Extras:

Audio Commentary with Tim Zinnemann: Tim Zinnemann, is the son of the film's director, and Oscar-winning screenwriter Alvin Sargent  of 'Ordinary People' and 'Julia,' who played a small part in the picture, sit down for an insightful commentary that starts strong, but fizzles out toward the end. Fred Zinnemann often speaks haltingly, as if he's not completely sure of his facts, but his cogent points concerning his dad's personality and work ethic enhance our appreciation of the film. Alvin Sargent analyses his brief scene with Clift and recalls the actor's kindness and sensitivity, and also outlines how he got another key bit in the movie announcing the Japanese attack. In addition, we learn about alternate casting choices for key roles (Aldo Ray for Montgomery Clift's part, Ronald Reagan for Burt Lancaster's role, and Joan Crawford for the character played by Deborah Kerr); how Fred Zinnemann got the plum directing assignment; script changes that had to be made to facilitate shooting at the U.S. Army Schofield Barracks in Hawaii; why Fred Zinnemann demanded the use of black-and-white film stock instead of colour; Montgomery Clift's rigorous preparation for his role; and some key advice director John Ford gave Fred Zinnemann early in his career. Gaps intensify in length toward the film's climax, but despite the lulls, this is a worthwhile dialogue that especially fans of the film will enjoy.

Special Feature: The Making of ‘FROM HERE TO ETERNITY’ [1953] [480i] [1.37:1] [2:00] This is a poor excuse for a making-of documentary,  blink-and-you'll-miss-it piece that only skirts the surface of this classic film, as it focuses on casting choices, the iconic beach scene, and the film's Academy Award® victories. Clips from Fred Zinnemann's personal colour home movies shot on location that only mildly salvage what amounts to a cursory look behind-the-scenes.

Special Feature: Fred Zinnemann: As I See It [1953] [480i] [1.37:1] [10:00] More colour home movies shot by the director Fred Zinnemann and highlighted is an excerpt from a thoughtful profile of Fred Zinnemann, which includes lengthy comments from the man himself about The Making of ‘FROM HERE TO ETERNITY.’ Fred Zinnemann discusses his affinity for “outsider” films, recalls how he was awarded the plum assignment of helming or steer the ship in expanding the novel ''From Here to Eternity,” and why he cast Deborah Kerr to portray the character Karen Holmes. Fred Zinnemann also says that his filmmaking credentials are to “tell the truth as I see it.”

Special Feature: Eternal History: Graphics-in-Picture Track: Picture-in-picture information can often be very frustrating, because the content is very sporadic and difficult to isolate. Thankfully, though, that is not the case here, as this enlightening and entertaining bonus view feature combines interview segments, especially with pop-up trivia cards to provide a constant stream of relevant information. A number of journalists and historians, including TCM host Robert Osborne, chime in with plenty of facts and anecdotes, while first-hand recollections from Fred Zinnemann's son Tim Zinnemann [American film producer], Frank Sinatra's daughter Tina Sinatra [American singer], and Jack Larson, a friend of Montgomery Clift who is best known for his portrayal of Jimmy Olson in the original “Superman” TV series, and give us a much more intimate look at the making of this Oscar-winning classic. Topics include the revitalisation of Frank Sinatra's career and his closeness with Montgomery Clift; the censorship issues that afflicted the famous beach  love scene; the possibility of a real-life affair between Burt Lancaster and Deborah Kerr during shooting; the appearance of George Reeves (TV's “Superman”) in a small role; Montgomery Clift's inner conflicts, demons, and self-critical nature; the tyrannical Columbia studio chief Harry Cohn, and how he interfered with Fred Zinnemann's work; and Frank Sinatra's distraught inner demons depression over his tempestuous marriage to actress Ava Gardner. The pop-up factoids look at, among other things, the military and literary careers of author James Jones and differences between the novel and screenplay, and supply stats about the cast and film, as well as some behind-the-scenes trivia. Even if you already know a lot about the film ‘FROM HERE TO ETERNITY,’  I do recommended this special feature and will definitely teach you something new about this classic film, happy viewing.

Finally, with its multi-layered story, provocative themes, and stellar performances, ‘FROM HERE TO ETERNITY’ stands as one of Hollywood's most absorbing and finely textured productions. This Best Picture winner uses Pearl Harbor as a stunning backdrop for a tale that brims with emotion, vitality, and a rugged individualism that sets it apart from other films of that period. Burt Lancaster, Montgomery Clift, Deborah Kerr, Frank Sinatra, and Donna Reed all perfectly embody their roles and nuanced portrayals that remain solid and strong six decades after the film's premiere. Though it took SONY far too long to release this Oscar-winning classic on Blu-ray, the top-notch presentation is well worth the wait, with excellent image and audio transfers, a brand-new picture-in-picture track, and five collectible lobby card reproductions sweetening the pot. ‘FROM HERE TO ETERNITY’ is definitely the best known for its iconic beach scene, but the crashing waves can't drown the film's spirit or the potent messages it transmits. Diehard movie buffs will surely want to add this first-class drama to their Blu-ray Collection, and those who haven't yet experienced it are in for a real treat and that is why I am honoured to actually add this to my Blu-ray Collection, as it is one of those classic films that will be loved by many generations to come and character driven films of this calibre will go on forever. Highly Recommended!

Andrew C. Miller – Your Ultimate No.1 Film Aficionado 
Le Cinema Paradiso 
United Kingdom

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