Not only the best film version of a Hemingway novel, but also one of the most thrilling visions of the power of sexual love that even Borzage ever made. An American ambulanceman, serving in Italy in World War I, falls in love with an English nurse; he finally goes AWOL to rejoin her, only to find her carrying his child and dying of hunger and loneliness. No other director got performances like these: Cooper at his youngest and sexiest, moving from drunkenness to intoxication; moon-faced Hayes, at once a mother-figure and a lover; and Menjou as Cooper's repressed homosexual friend, jealously coming between the lovers. And no other director created images like these, using light and movement like brushstrokes, integrating naturalism and a daring expressionism in the same shot. This is romantic melodrama raised to its highest degree, fittingly set to the music of Wagner's 'Liebestod'.