These retrospective feelings of both ownership and detachment stem, perhaps in part, from the fact that The Spanish Earth was a collaborative effort, the film representing a significant departure from Hemingway's usual role as a solitary writer.
But what you see in motion on the screen is not what you remember. You see it on the screen you hear the noises and the music and your own voice, that you've never heard before, comes back to you saying things you'd scribbled in the dark in the projection room or on pieces of paper in a hot hotel bedroom. IN 1938, nearly a year after the first screenings of The Spanish Earth, Ernest Hemingway reflected on the making of the film in an article for Verve magazine.Īfterwards when it is all over, you have a picture. Documenting and analyzing the nature of this collaboration offers interesting insights into how Hemingway's personal, political, and aesthetic motives for making the film fit with those of Joris Ivens and the rest of the production crew. In addition to Hemingway, John Ferno, Helen van Dongen, Irving Reis, Marc Blitzstein, and Virgil Thomson all labored individually and together, under the creative and brilliant direction of Joris Ivens, selecting and integrating the film footage with sounds, music, script, and narration. Joris Ivens) was a collaborative effort, and Hemingway's participation as a screenwriter and voiceover narrator represented a significant departure from his usual role as a solitary writer.
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