Its chief pain, meanwhile, concerns a lot of monkeying with the visual texture of things. Hemingway & Gellhorn constantly slips from color to black-and-white to sepia tones and skips among illusions of various film stocks. There has been an attempt to match the actors? scenes with file footage of loyalists on the march in Madrid and pedestrians out for a stroll in Manhattan, and you may be offended, late in a movie so generally trifling, to see that Gellhorn?s visit to Dachau includes film of the prisoners? corpses. The actors, via special effects, frequently walk through repurposed newsreels like so many Zeligs and Gumps. The technique proves most memorably risible when combined with recontextualized quotes?when, for instance, Hemingway, admiring a soldier, turns to Gellhorn and says, ?Look at that fucking grace under pressure.? When Hemingway is in conversation with someone who has been on the cover of Time, it is extremely likely that said cover will appear in the scene, and when he settles in to binge on Hemingway daiquiris, he recites the recipe very clearly. It is certain that the filmmakers have done their homework and no less certain that they?ve constructed an awkward digital diorama.
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