☆ ☆ ☆ ☆ ½
The Best Years of Our Lives (1946) – W. Wyler
I usually tread carefully around
multiple award winners (seven Oscars for this one), just because they sometimes
err on the side of cloying sentimentality and populist opinion, losing some
edge in exchange. However, this is not
true of The Best Years of Our Lives, the story of three servicemen returning
from WWII to uncertain futures back in the US.
Indeed, the title itself is ironic. Under ex-Air Force officer Willy
Wyler’s direction and following Robert E. Sherwood's script, the film pulls no
punches in its uncompromising view of the difficulties facing those returning
from war, whether they be blue collar (Dana Andrews), middle class (Harold
Russell), or better off (Fredric March).
After falling in together on their way back to “Boone City” (a stand in for
Cincinnati, more or less) from points overseas, the three leads stick with each
other and we follow their intersecting paths.
Russell has lost both hands (true of the actor as well as the character)
and has trouble accepting his girl’s love thinking it only pity. March takes to
drinking and has a run in with his boss at the bank over small loans to
returning G.I.’s (but he has the support of his lovely wife Myrna Loy and
daughter Teresa Wright). Andrews
suffers from PTSD, discovers that his war bride is a party girl who wants no
part of him now that he is broke, and can’t even keep his old job as a soda
jerk at the drugstore (now taken over by a corporate chain – a sign of things
to come). Although the film follows
these men (and their families) long enough to see them start to adapt, I agree
with critic Kent Jones that there is plenty of evidence that things may not go
well for them in the future. And as
critic Jonathan Rosenbaum points out, the film offers an eye-opening vantage
point for the real lived experiences of that generation, quite different from
the burnished brass-plated nostalgia that often passes for reality. Moreover, I fear that society continues to
offer an insensitive cold shoulder to our returning vets and ever will it be
thus. This film could offer a useful corrective.
They saved the cloying sentimentality and populist appear for the trailer lol
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