Papa: Hemingway in Cuba (2016)
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Critic Consensus: A man can be destroyed but not defeated, although the desultory Papa: Hemingway in Cuba makes one feel as if both can be accomplished by watching a single film.
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Cast
as Denne Bart Petitclerc
as Ernest Hemingway
as Mary Hemingway
as Debbie Hunt
as Santo Trafficante
as Woman Guest
as Evan Shipman
as Jim Miller
as John Fletcher
as Sinsky
as Luis Herrara
as Roberto Herrara
as Paxtachi Ibarlucia
as Lucas
as Juan
as Rene
as Lucas
as Fernando Mesa
as FBI Agent
as Cuban Coast Guard Captain
as Young Cuban Officer
as Checkpoint Soldier
as Sal
as Manolo
as Male Guest
as Derrick
as Englishman
as Texas Woman
as Floridita Waiter
as Luis Floridita Bartender
as Copyboy
as Cuban Boatman
as Luncheon Guest
as Luncheon Guest
as Ambos Mundos Bartender
as Trafficante Bodyguard
as Cuban Secret Policeman
as Cuban Secret Policeman
as Cuban Secret Policeman
as Hemingway Maid
as Hemingway Maid
as Son de alla Musician
as Son de alla Musician
as Son de alla Musician
as Leopoldo y su grupo Musician
as Leopoldo y su grupo Musician
as Leopoldo y su grupo Musician
as Leopoldo y su grupo Musician
as Trio Caribe Musician
as Trio Caribe Musician
as Trio Caribe Musician
as Ed Myers at 4
as Ed's Father
as Ed Myers at 14
as Older Boy
as Salvation Army Woman
as Shop Owner
as Shop Boy
as Mom with Stroller
as Dad with Stroller
as Woman on Sidewalk
as Man on Sidewalk
as Cop
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Critic Reviews for Papa: Hemingway in Cuba
All Critics (41) | Top Critics (18) | Fresh (4) | Rotten (37)
A film that is beautiful to look at but lacks clear vision.
In the end, it's a museum piece: even the drunken screaming matches between Hemingway and his wife feel staged.
As the first U.S. film shot in Cuba since Castro came to power in 1959, Papa gives us sights to revel in. Oddly, what hurts is the clunky, overripe script.
"Papa" is merely cinema at its dullest, a perfunctory assemblage of biographical bullet points in which characters explain their lives rather than live them.
Richardson deserves better. Hemingway certainly deserves better. And so does the audience.
Ms. Richardson comforts and coaxes and exasperatedly, bitingly demeans, but she and Mr. Sparks play past each other instead of engaging.
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