Hemingway & Gellhorn

Image Credit: Karen Ballard/HBO

I met Martha Gellhorn in 1971.

In 1971, sitting in the bar at the Continental Palace in Saigon I met the famous war correspondent, Martha Gellhorn, the woman who changed the face of war reporting by giving accounts of the suffering of real people . A pioneer in journalism, telling the story of war in a unique and personal way, she reported on virtually every major world conflict that took place during her 60-year career. Gellhorn covered the Spanish Civil War the Finnish-Soviet winter war, World War II, the Vietnam War and the 1977 Arab Israel conflict.

When I met Gellhorn she must have been 62 going 63 and was a compelling person with a magnetic personality and had just come back from having been with US forces somewhere in the central highlands. I was 23 on my first Red Cross mission sitting at a table with a few other journalist and she joined us. I was unsure of who she was at that moment but I could immediately see the respect accorded to her by journalists that knew her incredible history. I can recall her commenting on the futility of war and the deeper meaning of life...”That spiritual world up or out there,” she described so wistfully with delicate hand movements, and then she dismissed the comment.

A few days ago I started getting a large amount of hits on my weblog and I starting wondering why ? After a bit of research, I found that a new movie by HBO, Hemingway & Gellhorn, was shown for the first time on HBO the other day. I am delighted that the story of Martha Gellhorn, one of the world's great war correspondents, is made into a movie.


I looked at many reviews and the one from the Ottawa Citizen was typical of many, and I copy it below: Towards the end of this post, I write in more detail about my meeting with Martha Gellhorn.

Quiet, studied, cerebral and eerily compelling, the new HBO biopic Hemingway & Gellhorn is both a throwback and surprisingly modern.
The two-and-a-half-hour film, long by TV-movie standards, is a reminder that made-for-TV movies don't have to pander. Increasingly, films made by adults for adults are being seen on cable channels like HBO. If the Hollywood studios had their way, and it weren't for indie filmmakers, summer at the movie theatres would be one long superhero movie. There's a reason A-listers like Clive Owen and Nicole Kidman choose to slum in TV. Increasingly, that reason is movies like Hemingway & Gellhorn.
As directed by seminal filmmaker Philip Kaufman - few film directors can claim credits as distinctive and differing as The Right Stuff, The Unbearable Lightness of Being and Invasion of the Body Snatchers within a few years of each other - Hemingway & Gellhorn is a reminder, too, that, long before Arwa Damon, Marie Colvin and Christiane Amanpour, women were at the front lines of the world's most prominent, respected war correspondents. Gellhorn, considered by the Daily Telegraph to be one of the greatest war correspondents of her generation, covered nearly every major conflict that occurred during her storied 60-year career.

Clive Owen as Ernest Hemingway Nicole Kidman as Martha Gellhorn from the movie Hemingway & Gellhorn. Photograph by: The Movie Network

Although Hemingway is the more familiar name, Hemingway & Gellhorn is Gellhorn's story. It's a cliche to describe Gellhorn as a woman before her time, but consider this: Shortly after meeting Hemingway in 1936 in Key West and becoming his third wife in 1940, Gellhorn chafed at being cast in the shadow of the renowned novelist and ladies' man, famously remarking to a friend that she didn't care to be "a footnote in someone else's life." Extramarital affairs followed - on both sides - and the marriage fractured, as the saying goes: "We were good in war. And when there was no war, we made our own."

Kaufman, Kidman and Owen faced the press at a meeting with TV critics in Los Angeles earlier this year. Predictably, perhaps, it was Gellhorn, not Hemingway, that commanded the most interest, and Kidman who fielded the most questions.
"(Gellhorn) found her voice when she was with Hemingway," Kidman explained. "He was a big part of helping her to, as he says in a line in the film, 'Get in the ring and start throwing punches for what you believe in.' The great thing about Gellhorn was she was the first female, really, war correspondent. She wrote about people's lives, and she wrote with direct truth. That's hard to do.
"During their relationship, you see her formulating who she is as a writer. She's not Hemingway. She didn't want to write novels. She wanted to be a correspondent. I love that she was the first woman to really do that. In the film, you see her on the front line, you see her hands bloody. She's a sponge, and then she's able to feed that back to America and the world. She was a trail blazer."
Is Hemingway & Gellhorn right for you? If the first image that comes to mind when you hear the words Island in the Stream is Kenny Rogers, possibly not. If the image that comes to mind is the posthumous Hemingway novel set in Cuba, Bahamas and the Florida Keys, or the George C. Scott movie with Claire Bloom, you owe it to yourself not to miss Hemingway & Gellhorn. This is the kind of movie that brings history to life and makes you feel better for understanding it.

Martha Gellhorn - War correspondent by Bob McKerrow

In 1971, sitting in the bar at the Continental Palace in Saigon I met the famous war correspondent, Martha Gellhorn, the woman who changed the face of war reporting by giving accounts of the suffering of real people . A pioneer in journalism, telling the story of war in a unique and personal way, she reported on virtually every major world conflict that took place during her 60-year career.Gellhorn covered the Spanish Civil War the Finnish-Soviet winter war, World War II, the Vietnam War and the 1977 Arab Israel conflict.

When I met Gellhorn she must have been 62 going 63 and was a compelling person with a magnetic personality and had just come back from having been with US forces somewhere in the central highlands.; I was 23 on my first Red Cross mission sitting at a table with a few other journalist and she joined us. I was unsure of who she was at that moment but I could immediately see the respect accorded to her by journalists that knew her incredible history. I can recall her commenting on the futility of war and the deeper meaning of life...”That spiritual world up or out there,” she described so wistfully with delicate hand movements, and then she dismissed the comment.

Many years later I found out exactly what she thought about the US engagement in the Vietnam war.
"The American army in Vietnam was an army of occupation, victims and victimizers both," she later wrote. "Victims because they were wrongly sent 10,000 miles from home, to take part - even as mildly as storekeeper, clerk, cook - in a political aggression. Victimizers because they looked on Vietnamese as a lesser breed..."




 I find her courage and writing ability as two things I will remember forever about this pioneering war correspondent.

Caroline Moorehead, author of Gellhorn: A Twentieth Century Life, says Gellhorn remained undaunted for most of her 90 years. "I think she was fearless but she knew what it was like to be frightened," a toughness she got from her upbringing, Moorehead says.

Gellhorn covered wars in a different way than other journalists. "She didn't write about battles and she didn't know about military tactics," Moorehead says. "What she was really interested in was describing what war does to civilians, does to ordinary people."

In 1939 Gellhorn witnessed the first weeks of the Winter War between Finland the Soviet Union. She was in Helsinki when the Soviet air forces bombed the city, as a declaration of war. "An Italian journalist had remarked in Helsinki that anyone who could survive the Finnish climate could survive anything and we decided with admiration that the Finns were a tough and unrelenting race, seeing them take this war as if there were nothing very remarkable in three million people fighting against a nation of 180 million." (Gellhorn in The Face of War, 1959) Gellhorn also met President Svinhufvud, whose name she wrote "Szinhuszue". Svinhufvud offered his guests small apples from his orchard. At the Karelian front Gellhorn interviewed Finnish fighter pilots, astonished by their age: "they ought to be going to college dances," she remarked. Gellhorn's reports emphasized that Finland was not the aggressor and deeply influenced the public opinion in the United States about the war.

Gellhorn married Hemingway on November 20, 1940, in Cheyenne, Wyoming. (photo left) Hemingway's friend, Robert Capa, photographed the ceremony for Life. The author dedicated his famous novel about the Spanish Civil war, For Whom the Bells Toll (1940), to Gellhorn. Maria in the book was partly modelled after her. "Her hair was the golden brow of a grain field," Hemingway wrote of his heroine. In the film version of the book, Ingrid Bergman played Maria, but hair was darker than Gellhorn's. However, Gellhorn had suggested her for the role.

The first years of their marriage were happy, although Gellhorn was never really attracted to Hemingway, or believed in romantic love. Hemingway taught her to ride, and shoot, and fish. In the afternoon they played tennis.

Gellhorn was sent to China by Collier's to report on the China-Japan war. They met General Chiang Kai-shek ("he had no teeth"), and continued to Burma, where they spent some time. Hemingway returned to Hong Kong and Gellhorn left for Singapore and Java. "She gets to the place,"

Gellhorn was sent to China by Collier's to report on the China-Japan war. They met General Chiang Kai-shek ("he had no teeth"), and continued to Burma, where they spent some time. Hemingway returned to Hong Kong and Gellhorn left for Singapore and Java. "She gets to the place,"



Martha Gellhorn and Ernest Hemingway with unidentified Chinese military officers, Chungking, China, 1941

Since she walked out on Ernest Hemingway in 1943, after five years of marriage, Gellhorn had refused to talk much about him. She was a writer in her own right, a woman who had covered the heaviest of wars, and she wished to be remembered for that. Yet all people recalled was the marriage. That obviously was disappointing to such a talented writer.

After the war she served as a correspondent in Java. Her only play, Love Goes to Press (1947), written in collaboration with Virginia Cowles, did not gain much success. Liana (1944) was a story of a mulatto woman. "True, there is a suspiciously Hemingway-like handling of the dialogue," wrote John Lucas in Contemporary Novelists (1972), "but for the rest there is a sharpness, a truth of observation in the studies of Liana herself and of Marc that would make the novel worth reading if there were nothing else to commend it." The Wine of Astonishment (1948) fallowed a U.S. in Europe in World War II. "Anything at all would do," thinks one of the characters, Lieutenant Colonel Smithers, "except this hour to hour hanging on, with time like a rock in your brain." A young soldier, Jacob Levy, confronts man's inhumanity toward man in Germany. The book was partly based on Gellhorn's experiences - she had been at Dachau a week after American soldiers had discovered the concentration camp.

The Continental Palace in Saigon (Ho Chi Minh City) where I met Martha Gellhorn in 1971.

In 1958 Gellhorn received an O. Henry Award. The sale of a short story to television enabled her to pay in 1962 her own way to Africa. Gellhorn's love affair of the continent lasted off and on for thirteen years. Much of her time she spent in Kenya, where she had a residence in the Rift Valley. Eventually she fond hopeless to try to write about the "natural world where everything was older than time and I was the briefest object in the landscape." One morning she was attacked on a beach - according to her friend, she was raped. Later she wrote a short story dealing with the traumatic experience.

Between 1934 and 1967, Gellhorn published six novels. She covered wars in Vietnam in the 1960s, and the Arab-Israeli conflict of 1967 for the Guardian of London. "The American army in Vietnam was an army of occupation, victims and victimizers both," she later wrote. "Victims because they were wrongly sent 10,000 miles from home, to take part - even as mildly as storekeeper, clerk, cook - in a political aggression. Victimizers because they looked on Vietnamese as a lesser breed..." In 1962 Gellhorn made a tour of German universities.

She could describe vividly decades later, how people were dressed and what they discussed on particular occasions. She had a sharp eye for significant details, and her writing was clear, clever, and precise - all qualities of a good reporter.  Her article Is there a new Germany ? written in February 1964 shows her accute powers of observation, analysis and committment to truth. She could describe vividly decades later, how people looked like on any ocassion when questioned..

There is an excellent doco on youtube with a Spanish commentary. You'll love it as you see the places she visited and so many photos of her exciting life.

How I enjoy her writings, love her as a person and am so grateful to have met her. R.I. P Martha..