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Quite interesting in this film is the opening footage of World War I scenes and the posing group of young men, showing the transition from life to photograph. The part about the photograph is derived from Hemingway’s story. The costuming is particularly noteworthy, and the vintage automobiles give authenticity to the setting. For reader thought, one might wonder why the production shows Krebs making a pass at the girl, and also why the friend seems angry. Other different scenes might include the comparative importance of Krebs’s sister, the confrontation with his mother, and the concluding scene in which he leaves town. Perhaps most important are the ways in which story and film versions bring out Krebs’s sense of alienation and disaffection with life in the small town after the action and excitement of the War. Does the line quoted by Colleen Dewhurst, about how to keep young men on the farm “after they’ve seen Par-ee,” explain Krebs’s feelings? One should wonder about that.
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