Adjusting to the post war life.

Rating: Null/10 (22 May 2008)

The Best Years Of Our Lives encapsulates all elements of post war America with a diplomatic style, in that its patriotic thread humours the then conservative Hays Code which informally regulated the morality of the US film industry. This way, the director Willian Wyler can tackle sensitive issues facing post war American society by borrowing elements from the Futurists, an art movement founded by Italian Filippo Tommaso Emilio Marinetti (December 22 1876 - December 2, 1944)which advocated new hope via painful changes. In this respect new post war hopes and aspirations are achieved via the abolition of class, the emancipation of women and divorce in order to continue and re-establish the status quo.
The new hope is seen in Fred Derry (Dana Andrews) whose character won't accept the mundane low status job of soda jerk. For him the war brings new opportunities; after all he is a pilot with distinction and he deserves more than being a shop boy. But this hope is juxtaposed with the out dated civilian attitudes of the pre-war period, which seems to want to pick up where things left off prior to the war. This seems prevalent when Fred's boss at the drug store just expects that the former mentioned can slot back easily into his humble role of soda jerk. This proves too much and an event which acts as a catalyst for his frustration culminates in Fred losing his temper (the army not only taught him how to fight, but legitimised it as a defence of masculine pride)with a customer, which ends in his unemployed status. This is more than his wife Maria (Virginia Derry) can take. She has been emancipated, and is free and independent. She finds subordination to the role of the dutiful wife incongruous of her post-war free spirit.
The situation of characters Fred and Maria confront the audience with a hint of the social changes to come with the forecast of marriage breakdown (which is symbolic of the deconstruction of a pre-war society which accepted the status quo without too many questions)culminating in divorce (initiated by women) and extra marital affairs. Indeed, the fact that Peggy (Terrasa Wright) with her wholesome middle class ingénue image, is declaring herself a 'marraige wrecker' is a sign of the rebellion of young people and their insubordination to their parents and society. By this insubordinate defiance she is symbolic of the social revolution and the decline in naivety and innocence. Moreover Peggy forms a relationship across the social boundary and with one kiss breaks the class system.
Harold Russell played the war veteran Homa as himself. His character represents the adjustments and sacrifices that have to be made for everyone's sake during the post war period. This is reinforced by Al Stephenson's (Fredric March) speech at the bank dinner. In this speech Al suggests that the bank needs to take risks to survive and thrive in the post war period. In this respect Al is borrowing (without any conscious intention) from the Futurist Manifesto initiated by Marinetti; that is changes need to be risked, and liberal attitudes adhered to for the bank to remain profitable and become richer. Al's wife Milly (Myrna Loy) remains the stoic, stable force of the women's supporting role in society that in many respects permits the risk taking, and changes to occur.
The direction of this film , accomplished by the celebrated William Wyler means the plot detail defies the film's length. In other words the film's length is made less enduring due to the way the interesting soap opera style of plot is accomplished.
Kudos goes to all the actors in this award winning film, including an accomplished supporting cast.
The Best Years Of Our Lives is a very worth wile film with important social insight and commentary.