Perry Kate Very very predictable, including the post credit scene !!!

Rijndri Load of rubbish!!

ThedevilChoose When a movie has you begging for it to end not even half way through it's pure crap. We've all seen this movie and this characters millions of times, nothing new in it. Don't waste your time.

Deanna There are moments in this movie where the great movie it could've been peek out... They're fleeting, here, but they're worth savoring, and they happen often enough to make it worth your while.

JohnHowardReid Producer: Darryl F. Zanuck. Copyright 17 September 1952 by 20th Century-Fox Film Corp. New York opening at the Rivoli: 18 September 1952. U.S. release: July 1953 (sic). U.K. release: 2 February 1953. Australian release: 18 December 1952. Sydney Opening at the Regent. 114 minutes. SYNOPSIS: Harry Street, an amazingly successful novelist, is near death at the foot of Kilimanjaro. Reviewing his life, particularly his thwarted romances with Cynthia and Liz, he decides to mend his ways, settle down with his third love, Helen, and even write something worthwhile.NOTES: Nominated for Academy Awards for Color Cinematography (won by The Quiet Man), and Color Art Direction (won by Moulin Rouge).Aided by a lavishly mounted publicity campaign which stressed the non-existent salacious qualities of the tedious script, the movie came in 3rd at the domestic box-office with a gross rentals take of $6½ million.Number 5 on the National Board of Review's American Ten Best of 1952. Best Actress of 1952, Susan Hayward (principally for her acting in With a Song In My Heart, but her performance in this one also influenced the voters) - Photoplay Gold Medal Award.COMMENT: Casey Robinson has reduced Hemingway to a wordy, sluggishly paced bore, hammily acted by Susan Hayward who is absolutely ridiculous as the distraught wife. Peck is likewise totally unbelievable and the other players are forced into an unequal struggle with their impossible characters. Leon Shamroy has tried to give the film a bit of atmospheric sheen and gloss (indeed the lighting is the film's best feature) but the plodding music score and Henry King's elephantine direction do not help. A bit of location footage (the stars stay firmly in the studio) helps but generally this is an overlong, long-winded, and decidedly dull disappointment.

elvircorhodzic THE SNOWS OF KILIMANJARO is one skillful combination between African sensationalism, human melodrama and vivid acting. A film that does not capture the quality, but the story of a writer and his hostility against life is pretty interesting. As a writer lies wounded and dazed in an African camp at the foot of the snowy slopes of Mount Kilimanjaro, remembers events from his own life, returning to the past. Writing, women and hunting determined his life. In pursuit of them traveled the world of salons of bohemian Paris, the Spanish battlefields to the African plains. Now, in the shadow of the great mountain and impending death due to gangrene, trying to make sense of his life's failures.The main hero is presented in different states and moods. Despite solid well realized flashbacks, it's really hard to determine what state of mind is the real thing. Love intrigues and personal disappointment as the main character pushed into despair and depression. It is fascinating to see three different romance that eventually come to the same - disappointment. Exactly how much the hero respects himself. The protagonist does not like any of his wives. Simply, women are need. Now, all of a sudden he punishes himself for his mistakes in the past, although it is next to him a woman who truly loves him. It's a bit confusing, vague and unconvincing. However, the pictures stimulate and fascinate. Therefore, African mountains, isolation, pain, sadness and emotion have a special charm. Gregory Peck as Harry Street is temperamental writer who is lost in a melancholy mood. This situation also leads to some critical melancholia and depression. Performance of Mr. Peck is pretty solid, but I really bothered by the fact that his appearance in the film does not change. Ava Gardner as Cynthia Green is beautiful. One impulsive character but her role is unclear. Susan Hayward as Helen is the wife who is cold and gentle at the same time. Both with a reason.I will boast of the music, because it makes sense.In this film has plenty of action and romance.

ebiros2 No, it's Benny Carter playing the sax at the bar/party. The movie is nostalgic in these ways. It really looks like the time that has gone by, but because of its simplicity, appears more vivid.Harry (Greg Peck) the writer has very bad infection in his legs in Africa by the Mt. Kilimanjaro. He's delirious and has regrets about his past love life. The movie goes from scene to scene about his past life occurrences. His life is not so bad, but something critical is missing. Harry's wound is symbolic of the condition of his heart.The conclusion seems to be that if you don't know what's worth dying for, you don't know what is worth living for. This enigma is slowly killing Harry. In the end it seems that what he has already is more than what he needs to go on.The transition Harry goes through is written beautifully, and in a stylish way. Harry couldn't find what he was looking for in Paris, but seems to have found it in Africa. Sometimes you need the right setting to see things in clear perspective.Harry in a way serves as our alter ego, as we get to live life through his perspective. The movie is great in that we can see shadows of our own life through his story.

sjordan47 There is a great film to be made out of this great novel, but this isn't it. I was entranced by it when I was very young and it first appeared on TV, but it has not worn well over time. Just saw it again on TCM and was very disappointed by its shortcomings.Clearly, the stars never set foot outside of the sound stage or the back lot, and the beauty and scope of African and European scenes exists only in second-unit photography with stand-ins. Bad rear-projection work does nothing to help the film. Peck at his most actorish, and Ava Gardner still out of her element before she learned how to act. The sole savior is Leo G. Carroll, who commands the screen when he's on. Hard to believe that the overly slick, studio-style cinematography was by Leon Shamroy, who was known for evoking time, place and mood.Dull, plodding, unconvincing and lacking the reality of a broader world that Hemingway described so well. Somebody needs to do a re-make. For much better Hemingway, go to "The Sun Also Rises," despite the hammy performances.