Among Best Films Of Our Lives

Rating: 10/10 (11 November 2014)

Not seldom have we seen veterans returning from wars in movies and certain assumptions are likely, but THE BEST YEARS OF OUR LIVES occurs to be an exceptionally memorable treatment of the theme. Bosley Crowther in New York Times, soon after the premiere of William Wyler's gripping work, pointed out accurately that the film "visions the overflowing humors and the curious pathos of such returns, and it honestly and sensitively images the terrible loneliness of the man who has been hurt."
One of the major strengths of this film, therefore, does not lie in entertainment (though it does not lack it whatsoever) or any sort of heroic deeds worn in glorified patriotism (something that many movies of the time did not resist), but in the very empathy it employs to the theme and the characters. William Wyler speaks to the generation with clarity and modesty derived from his very experience with the men of Air Forces. Roger Ebert develops the thought labeling the central theme as "sobering at the problems veterans faced." He adds that "Wyler doesn't pump in superfluous drama" but actually IS with his characters and with/for his audiences. As a result, the story does not resort to the specific time of history but concludes in a rather universal, timeless insight into psychological and moral aspects of those troublesome torments and alienation therein endured. Ebert explains the fact why the movie so wonderfully passed a test of time with three adjectives applied to it: "lean, direct, honest." Let me highlight those features from the standpoint of the three veterans herein depicted.
The main cast do not only come from various backgrounds, do not only portray different personalities with common experience yet diverse backgrounds but truly surprise us at multiple levels. All of them truly deservedly credit.
FREDRIC MARCH, a very famous actor at the time, does a splendid job as sergeant Al Stephenson coming back home to his wife Milly (played with bravura and charm by Myrna Loy) and two kids, a daughter Peggy (played with subtlety by Teresa Wright) and a son Rob (Michael Hall). He is 'lean, direct and honest' in both merry-go-round scenes and serious moments but most captivating at the very adjustment to the family after the years of absence. The terrific ability to balance the hilarious with the serious is something that makes March's performance deserve particular attention. Although he has come back from war, much is at war within him...
DANA ANDREWS as a former bombardier Fred Derry is a totally different character to analyze and perceive in the very context of pre-war vs. post-war reality - something many viewers of the time could identify with and most viewers of our time can fully understand. His destiny is shaped in direction towards Al's family (he is in love with Peggy) and yet, distorted by the haunting past and wrong choices. Here, who calls our attention is his wife Marie (Virginia Mayo), a conceited, vain woman occupied with what one looks like rather than bothering to consider what one feels. Andrews is given much freedom on the screen to develop the character on a great scale for the time. He does well. But the most intriguing and perhaps the most identifiable character among them is...
HAROLD RUSSELL as Homer Parrish, a sailor most hurt by the war. His artificial hands, steel hooks have become almost a symbol of the movie's most powerful anti-war aspect, and, at the same time, the reason why the story may be called "food for quiet and humanizing thought" (Crowther). His character moves us most and leaves us almost reflective because it embodies honesty. Homer Parrish is a living statement that evokes the indifference and arrogance of war. He is in love with Wilma (Cathy O'Donnell) but he has to confront the reality the war experience has given to him. He is no longer the way he dreamed to be. Yet, the awareness of being loved helps him go on. Consider the bedroom scene with Wilma and the genuine tears of joy at having heard she loves him. Deservedly Mr Russell got the Oscar for the role and there is no question about one thing: such a screen achievement may be considered one among the very best roles of one's life. In this character lies quiet, subtle, captivating heroism.
Among the female characters, great performances are delivered by Myrna Loy as Al's wife whose acting Crowther labels as "charmingly reticent" and Teresa Wright as Peggy who highlights trustworthy enthusiasm and youthfullness in difficult times. Virginia Mayo's "brassy and brutal" (Crowther) depiction also bears watching.
In all this achievement, kudos to cinematographer Gregg Toland who employs high contrast lighting with terrific visual resonance added to the the whole story and builds the scenes upon exceptional clarity. Along with the obvious contribution of the director William Wyler, no less appreciation should go to the screenplay by Robert E. Sherwood for the perfectly framed plot(s).
THE BEST YEARS OF OUR LIVES may undeniably be considered as one among the best films of our lives, an intense emotional link between the characters on screen and viewers where genuine feelings conquer heroic victories.