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George C. Scott stars as a twice-divorced artist living single in the Bahamas right before America is pulled into World War II. He’s visited by his three sons who spend the summer with him, and later by his first wife (Claire Bloom) who delivers some bad news. He ultimately decides to stop living in isolation and rejoin his family, but the war intervenes and takes his life in an unexpected direction.
Islands in the Stream is based on a novel by Ernest Hemingway, designed to be a three-story pastiche of a man’s island life. The film is broken into four sections with subtitles, “The Island,” “The Boys,” “The Woman,” and “The Journey”. There’s an escapist value to the first two segments, as we sleep beside the ocean waves with Scott and his sons, try valiantly to reel in an enormous swordfish, and experience the first signs of impending warfare when a German soldier’s body washes up on shore from a submarine explosion. “The Woman” is a more intimate, well acted and emotional segment, while “The Journey” veers into action/adventure territory with Scott and his friends helping Jewish refugees escape capture at sea.
I’m not sure if Islands in the Stream has narrative cohesion or an overriding message, but I enjoyed its ambiance and atmosphere, as well as the emotional catharsis of Scott’s character. He starts a loner, and ends up trying to reunite with his estranged family. Scott’s terrific as always, and Claire Bloom proves his equal in their segment together. David Hemmings is memorable as Scott’s boat keeper, a man who loves Scott and his family, but battles with alcoholism. Look for hunky Hart Bochner (Supergirl, Apartment Zero) as the eldest son, and quirky Susan Tyrrell (Fat City, Forbidden Zone) as Scott’s island ‘friend with benefits’. Jerry Goldsmith provides a dynamic score, at turns solemn, thrilling, contemplative, and grand. The composer is on record saying it’s his favorite of all the scores he ever did.
Directed by Franklin J. Schaffner (Patton, Planet of the Apes). With Julius Harris, Gilbert Roland, Brad Savage, and Michael-James Wixted.
Oscar Nomination: Best Cinematography (Fred J. Koenekamp)