The 1957 version of A Farewell to Arms is a mixture of the best and worst of David O. Selznick. On the plus side is the no expense spared lavishness of the whole production, with great Italian locations, great production design, a good supporting cast (including an excellent Vittorio de Sica, Alberto Sordi and Elaine Stritch) and a cast of thousands. On the debit side, there's some hokey love scenes and the miscasting of Selznick's private leading lady Jennifer Jones, lisping her way through an awkward British accent while seemingly impersonating a rather large bunny rabbit that somehow got a job as a nurse.
Charles Vidor lacks Frank Borzage's sensual romanticism, but despite some surprisingly clumsy comedy, Ben Hecht's script is much darker and more mature than you'd expect, with the grim retreat sequences and their aftermath far darker than anything in the Gary Cooper version. That said, the gay subtext to Rinaldi's friendship is almost completely absent, something that seems all the more noticeable with Rock Hudson playing the object of his affections (but that's hindsight for you). It's never particularly moving, but it's entertaining storytelling and it looks great in its original CinemaScope ratio.