An opening shot of Henry King's movie echoes the style of many classic films of the time whose source is literature: wordy introduction of the ever present 'protagonist' of the story, this time it is the magnificent Mount of Kilimanjaro. Soon, however, we face a number of liberties taken with Ernest Hemingway's story and encounter the creative contribution of its director, Henry King, and the screenwriter Casey Robinson. Unlike many films of the early 1950s, SNOWS OF KILIMANJARO sets the tone for the 'in media res' approach with a protagonist and his memories, more to say, reflections on life filled with 'drama, tragedy, love, poetry.' Apart from many artistic and authentic 'sensations' of the movie, including its African locations, its footage of the continent's wilderness (note the hippopotamuses or rhinos), the striking cinematography that the New York Times reviewer Bosley Crowther called "magnificent and exciting," musical score of "rich suggestion" (Crowther), SNOWS OF KILIMANJARO boasts its character, the writer Harry Street played with bravura and vitality by the brilliant Gregory Peck. He is the cream of the movie's entertainment and the center of our attention in spite of many beautiful women that turn up and leave. The "thoughtfully slow exploration of an error filled life" (Ace Black Blog) and the whole reflective power of the story bursts out thanks to Mr Peck.GREGORY PECK: As a former writer to Chicago Tribune, Harry is placed in a situation (position) with plenty to think about. The centerpiece of his (an our) attention in all those reflections are "the flow of romances" (Crowther), the women he knew and the women he actually 'disappointed' Although he is still accompanied by his wife Helen (Susan Hayward), the most significant woman of his life, his memories is Cynthia (Ava Gardner), the woman who embodies "an ode to essential love lost" (Ace Black Blog). No matter to what extent Hemingway loses out to Casey Robinson, the protagonist's relations with the women are explored in an exceptionally modern manner. Harry's "burning temper and melancholy moods" (Crowther) make his an almost neurotic character, more easy to identify with and yet, more reclusive and pathetic at certain moments. He is changeable, wistful, nostalgic, unpredictable, thought provoking. Henry King, having worked with Gregory Peck before, appears to have cast him in one of the very best roles of his life. Although the action goes on slowly at moments, he is magnetic in the role gradually becoming 'a knight questing for Holy Grail.' The true highlights are the scenes with Cynthia.AVA GARDNER: Although the opinions of movie scholars differ on her performance, it appears that she brings in the crucial aspects of her character and the key qualities sought by Harry throughout. In the symbolic 'cigarette scene' (that echoes the most subtle moments of old Hollywood...consider Greta Garbo and John Gilbert in silent classics), this essential 'touch' is manifested, the touch of chemistry between a man and a woman. In her role, Ava Gardner is given considerable freedom in exploring a woman with her own self and she does brilliantly in the task. Their scenes simultaneously stimulate the similarities and and differences between female and male, between her expectations and his expectations...'her normal thing is not his normal thing' In one of the most powerful lines of the film, after she has lost the child, the doctor utters "Don't you, people, talk to each other?" Yet, they are reconciled in the most unpredictable circumstances (here, the ever present anti-war aspect). A great performance.SUPPORTING CAST: Although not much can be said about Hildegard Knef (or rather Hildegarde Nef) except for her looks, Susan Hayward does a fine job in more difficult scenes. She is constantly, like in his mind and so in ours, in the shadow of Ava Gardner's character. However, putting it justly, some of her scenes are played skillfully and memorably. A note must be made of the actor who plays the uncle of Harry not only because his role is crucial in the storyline but also because he utters certain edgy lines not easily forgotten.All things considered, SNOWS OF KILIMANJARO has stood a test of time not so much as a display of some 'visual marvels' but as a reflective classic made convincing by Gregory Peck forever associated with Hemingway's story brought to screen. Enjoying the movie now, I do not wonder its lasting impact on viewers, on my Grandma who saw it half a century ago.

I usually like old films and the title and cast of this one seemed a good bet. What a disappointment. Peck is grossly miscast - he's just not the gigolo he's portrayed, nor does he look like a man who's dying. Nor does 'Cynthia Green' convince me, even the name is too boring for the beautiful Ava Gardner. And the 'hunting' scene - sorry, standing in front of somebody else's adventure backdrop is again unconvincing as are the actual rhino shots, another time another place. The whole script is endlessly boring and I can't wait to get rid of it to the charity shop where I found it. And the 'Africans' - who are they kidding? 'What's he gonna do, sprinkle me with monkey dust?" Oh Lord, somebody please put him out of his misery and dismantle the set. The 'natives' did try to sound as though they'd learned their lines and that unconvincing chant with the luckless rhino head on a stretcher PULEASE! i don't know how painful gangrene is but Peck sure is bearing up well considering he only had his bandage changed but once and did he utter a sound when Hayward lanced the horrid green swelling? Nope, just looked his normal handsome self. Perhaps Humphrey Bogart might have managed this ponderously awful script better..but even he can't do miracles. The only one who deserved an Oscar was the hyena sniffing around the tent with a view to his next meal.

I have viewed this movie countless times. Gregory Peck, Uncle Bill, Haywood and Garner all make this film become real. The ideal of becoming a great writer is important to Harry Street. Therefore, in Harry's mind and heart, he has failed by not suffering alone on his life-long safari. Harry was lost between love and the safari.The novel indicates that Harry died in the book. Yet, in the film, Harry lives. Gregory Peck is a real man. He truly becomes Harry Street. I love this film. All three wives are strong in their own right. Also,great sax scene to set the mood.Overall, this is a great piece of work from Hemingway. Although, it my understanding that Hemingway was not particularly pleased with the film.I believe, Henry King should receive a great deal of credit for his body of work. Many of my favorite films are all directed by him. I love this movie.

No, it's Benny Carter playing the sax at the bar/party. The movie is nostalgic in these ways. It really looks like the time that has gone by, but because of its simplicity, appears more vivid.Harry (Greg Peck) the writer has very bad infection in his legs in Africa by the Mt. Kilimanjaro. He's delirious and has regrets about his past love life. The movie goes from scene to scene about his past life occurrences. His life is not so bad, but something critical is missing. Harry's wound is symbolic of the condition of his heart.The conclusion seems to be that if you don't know what's worth dying for, you don't know what is worth living for. This enigma is slowly killing Harry. In the end it seems that what he has already is more than what he needs to go on.The transition Harry goes through is written beautifully, and in a stylish way. Harry couldn't find what he was looking for in Paris, but seems to have found it in Africa. Sometimes you need the right setting to see things in clear perspective.Harry in a way serves as our alter ego, as we get to live life through his perspective. The movie is great in that we can see shadows of our own life through his story.