Back from Eternity

I first saw this film as a young boy, when it was first shown here in Australia, and I haven't seen it since, even on television. But it remains vivid in my memory solely because of the performance of Rod Steiger. His "villain with a soul" is a role he played in many subsequent films, and it is what makes him so absorbing and intriguing to watch. Nobody does brooding menace like Rod Steiger. In this film, he outshines every other player, and in fact his character, and what he does at the end, is the core of the plot. Back from Eternity might be classified as a B-Grade film, but for the fact that Rod Steiger is in it.

There were two problems with Back From Eternity which is not the fault of the people who actually made this film. RKO Studios was going out of business as Howard Hughes was busy folding it up. The film was released and then very quickly was on television as the entire RKO film library was. The second is unfortunately the film came out in the wake of The High and the Mighty. Most airplane pictures suffer in comparison to that one.

Not mind you that it could have been given better productions values. Color for the jungle scenes and maybe some location shooting instead of dusting off the same sets used for Five Came Back, for that matter for King Kong.

Remember RKO was owned by one of aviation's biggest boosters in Howard Hughes. Not that he couldn't have afforded some better productions values. But then again he was getting out of the film business at this time. Then again had he put some money into it, we also would have had more Hughes control and the results might have been interesting. Not necessarily good, but interesting.

That being said the cast does a fine job for director John Farrow. Like John Wayne in The High and the Mighty, Robert Ryan is fine as the able veteran airline pilot in charge of getting his passengers and crew back to safety after they've force landed in the South American jungle. Of course with the pulchritudinous Anita Ekberg on board and interested that's enough to give anyone a morale booster.

Rod Steiger plays the criminal on the way to his execution, a part done by Joseph Calleia in the original. Both are fine and are an interesting contrast in acting styles.

John Farrow added a few things here that were not in the original. One of the dumber things added was a chick fight between Phyllis Kirk and Anita Ekberg while they are stranded in the jungle. I mean was that really necessary John? Added nothing to the plot and kind of stupid when you come to think about it.

Still, chick fight and all, Back from Eternity is a good solid piece of entertainment that also asks some important questions about the quality of life collectively and the quality of how one spends his allotted time on earth.

After having just seen BACK FROM ETERNITY for the first time in about a "hundred" years, I really have to weigh in with my opinion on this. It is one of the few times when the remake is an improvement on the original, exceptionally so.

I saw the original (FIVE CAME BACK) some time ago and, from what I can tell, the only thing which could possibly raise it even slightly above the superior remake is the curiosity factor of having Lucille Ball in the cast. Other than that, the acting and the production were very wooden and dated, and the overall cast pales in comparison to that which was assembled for ETERNITY.

For anyone not familiar with the story, a plane crashes in the midst of a remote South American jungle. Besides the pilot and co-pilot, there are nine passengers: a so-called "fallen woman", an engaged couple, an elderly professor and his wife, a small boy and his guardian, and a cop with a prisoner in tow. They must stay alive until the plane is repaired, a task complicated by the realization that they are surrounded by a hostile tribe of headhunters.

Here you have Robert Ryan instead of Chester Morris, Rod Steiger instead of Joseph Calleia, and Gene Barry instead of Patric Knowles. Ryan and Steiger especially, in the main roles, display more screen presence and acting talent in this one film than their predecessors were able to conjure up in their entire careers.

Ryan plays the world-weary pilot, another of his sturdy and dependable performances which are often overlooked and not fully appreciated because he made it seem so effortless. Steiger has the more colorful role as the anarchist, with only imprisonment and execution waiting for him if and when they make it back to civilization. The same talent, which would gain an Oscar for the actor some ten years later, is clearly evident here.

The underrated Keith Andes (as the co-pilot, instead of forgettable Kent Taylor) gives a hint of the star he could have become, and the equally underrated Phyllis Kirk is far more effective in her role than whoever played it in the original. Barry, usually cast as a good guy, gives a good account of himself, playing Kirk's fiancée. Whereas most of the other passengers rise to the occasion, his character becomes increasingly desperate, grasping, and unstable.

Anita Ekberg, frequently dismissed as an actress, may not have been as talented as Lucille Ball (who played the part in the original), but at least proved that she could indeed act, and is certainly more convincing in this type of role than Lucy was.

Of note is a pre-Lassie Jon Provost as the little boy. Jesse White, better known for his work in comedic films, does a fine job as the boy's roughhewn guardian, and Fred Clark is good at giving a distasteful stamp to the rather seedy cop. Above all, Cameron Prudhomme and Beulah Bondi, as the old professor and his mrs., give two very moving, heartfelt performances.

The story concerns the characters' survival, how each holds up under the pressure and are changed by the situation. Steiger begins to rediscover some of the values of his youth, but then finally takes it upon himself to decide who will live and who will die, when it is learned that some must stay behind. The conclusion builds to a shattering climax that will stay with you long after the film ends. This is the remake to see and it is definitely worth seeing.

Why John Farrow decided there had to be a remake of FIVE CAME BACK (which he directed earlier) remains a mystery to me. The script here is pretty much the same thing--standard plane crash with survivors lost in the jungle--and all on a studio set that looks like no more than a studio set. So much for reality.

But the performances he draws from his cast are almost enough to make the film as engrossing as it strives to be. The passengers are a mixed lot--among them a beauteous Anita Ekberg who poses prettily but makes no real effort to act. On the other hand, Robert Ryan and Keith Andes, as co-pilots, Beulah Bondi and Cameron Prud'Homme as an elderly couple, Phyllis Kirk and Gene Barry as a mismatched young couple, and Jon Provost (before his Lassie fame) do excellent jobs considering the fact that their roles are stereotypes. There are also less fortunate roles played by Adele Mara, Jesse White and Fred Clark. Mara's sudden exit from the plane at the height of the storm at least spares her the difficulty of facing the rest of the film as a stranded stewardess.

Top-lined in the cast is Rod Steiger as a criminal facing execution once he is returned to authorities. In an ironic twist of fate, he's the one who eventually chooses who shall leave the jungle crash scene and who shall not.

Interesting, but no real improvement over the original except for a few of the performances. All in all, good B-picture entertainment.

The most convincing moments are the plane's anxious moments during a wild thunderstorm. This is by and far the most visually compelling part of the film in which Farrow's direction (and some good special effects) shows his capabilities.

Airplane (with passengers) crashed in jungle near tribe of head-hunters. Great ending to this one. The always dependable Robert Ryan is the pilot and Rod Steiger is outstanding as a criminal on his way to prison. Gorgeous Anita Ekberg is on hand with various American types to fill out the slate.

A 7 out of 10. Best performance = Mr. Steiger. Tension really builds in this one after the first hour. It's tough to see what's coming, but it's worth the wait. Definitely in the Top 10 of 1956. Jon Provost (from LASSIE) is the little kid. Keith Andes (Skip Homier's brother) is co-pilot.