Why the John Garfield Retrospective at Karlovy Vary May Seem More Political Than Intended

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At the 59th edition of the Karlovy Vary International Film Festival (KVIFF), there will be a John Garfield retrospective. This event is expected to feature timeless black-and-white gems, showcasing Hollywood’s early method acting innovator, and providing that authentic 35 millimeter cinema experience. Additionally, it may spark discussions among viewers about potential political similarities between Garfield’s era in the U.S. and today.

In the 1940s, Garfield gained fame for portraying intense working-class characters in movies like “The Postman Always Rings Twice,” “Four Daughters,” and “Body and Soul.” As his contract with Warner Bros. approached its end, he desired more creative control, leading him to establish the production company Roberts Productions along with others.

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Garfield, best recognized for roles in films such as “The Postman Always Rings Twice,” “Four Daughters,” and “Body and Soul,” made a name for himself by playing brooding working-class characters during the 1940s. With his contract with Warner Bros. nearing its end, he yearned for more creative freedom, which prompted him to establish Roberts Productions alongside others.

Karel Och, KVIFF’s artistic director, shares with THR that the retrospective is ‘my baby.’ He has long desired to honor Garfield, as he feels there hasn’t been a tribute to an actor before, especially one who built his career during challenging political times in America.

Later on, Garfield’s professional journey faced a setback when he was summoned to appear before the U.S. House of Representatives’ Committee on Un-American Activities (HUAC), an investigative body that examined accusations of Communist associations and actions within Hollywood and beyond.

The allegations significantly hurt the ticket sales for one of his last movies, ‘The Breaking Point’ (1950), which was based on Ernest Hemingway’s adventure novel ‘To Have and Have Not’, considered by the author as the finest adaptation of any of his books, according to KVIFF officials. Unlike others who collaborated with the authorities and betrayed their peers to save themselves, Garfield, already struggling with health issues, refused to reveal names, making him a victim of McCarthyism.

In light of U.S. President Donald Trump’s clash with cultural institutions, media outlets, and prominent figures, the life story of Garfield might resonate with certain contemporary stories.

Och has earned a name for organizing festivals with an emphasis on artistic choices over politics or marketing ploys. This approach was likewise applied to the carefully planned Garfield retrospective. In essence, the aim is aesthetic and historical – to educate people in my country and Central Europe about a figure they may be unfamiliar with, namely Jim Garfield who was active before Marlon Brando and James Dean, and he was the pioneer of method acting. Perhaps viewers will also notice that America during his time and modern America share some similarities politically speaking.

He presents a relevant scene from an old movie titled “Pride of the Marines” that could resonate today: The film stars Garfield and tells the true story of Al Schmid, a soldier who fought in Guadalcanal during World War II, went blind, and returned home. There’s a powerful hospital scene where soldiers, anxious about returning to civilian life and work, express concern about losing their jobs. One soldier says, “I might find someone Mexican doing my job when I get back.” This was 1946. The camera then focuses on another soldier, who is Mexican, and the first soldier realizes his mistake, apologizing for not meaning him. The Mexican soldier replies, “I am the other Mexican.

Och recognizes that such scenes may spark thoughts among viewers that closely mirror our present situation. “The message you find here is powerful enough to resonate in today’s cinema,” he says to THR. “And with Garfield, you have a captivating persona who stood firm by his principles during the era of McCarthyism and economic turmoil. However, it’s essential to note that our primary focus is not on politics. We are drawn to Garfield because he was an exceptional actor, and these films are simply fascinating.

Not only is Och pleased to showcase a significant portion of the retrospective featuring classic cinema, but let me clarify that we have eight out of ten films in 35mm format. My hope is that it will be an illuminating experience, possibly for a younger audience too, as opportunities to watch movies on physical film are becoming increasingly scarce in today’s world.

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2025-07-04 12:54