IMDb RATING
6.7/10
1.6K
YOUR RATING
Drama about former WW2 Marines readjusting to civilian life and dealing with their mental and physical traumas.Drama about former WW2 Marines readjusting to civilian life and dealing with their mental and physical traumas.Drama about former WW2 Marines readjusting to civilian life and dealing with their mental and physical traumas.
Harry von Zell
- Scuffy
- (as Harry Von Zell)
John Bailey
- Interviewer
- (uncredited)
Bobby Barber
- Arcade Game Player in Saloon
- (uncredited)
Bill Barnum
- Jackson
- (uncredited)
Dick Benjamin
- Sergeant
- (uncredited)
Paul Birch
- Marine Wanting Farm
- (uncredited)
- Director
- Writers
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaJean Porter and Edward Dmytryk met during the making of this film and would be married in 1948, until his death in 1999.
- GoofsOn the bus arriving at the Marine base at the beginning of the movie, California is misspelled "Caliornia."
- Quotes
Cliff Harper: We parted company when he was dumb enough to get shot!
William Tabeshaw: Why don't you own up,Harper? I was a big hero and you were a coward!
- ConnectionsFeatured in Hollywood the Golden Years: The RKO Story: Dark Victory (1987)
- SoundtracksTill the End of Time
by Buddy Kaye and Ted Mossman, based on Chopin's "Polonaise"
Music by Frédéric Chopin (uncredited)
Featured review
Struggling with the Homefront
No need to repeat the plot. That scene where Pat (McGuire) and Cliff (Madison) encounter the shell-shocked outpatient is genuinely disturbing. For a screenplay, that's a tough problem to treat in a single set-up. Pat's little anecdotal lesson works pretty well-- the soldier is relieved of his demons for the moment. But for how long, I wonder. And what will become of him, sitting alone, quaking, and afraid to go home. And how many others will come home like him. The script says the inner wounds will wear off eventually, but then it had to say something like that, otherwise the movie's hopeful tone would be compromised. And that would be counter to what the country needs following four years of horror.
It' a decent, earnest movie, produced by the studio's (RKO) head honcho Dore Schary, so it's a prestige production. Looks like they took a gamble on an unknown Guy Madison in the lead role. He certainly looks the part—I can just about hear the echoing squeals of bobby- soxers even 60 years later. He does bring an earnestness that's refreshing, even if his range is pretty limited as the heavier scenes show. Newcomers Mitchum and the underrated Bill Williams also register, along with the dewy-eyed Dorothy McGuire before she became a favorite movie mom. But I especially like Jean Porter's vivacious teenager. It's really her Helen who projects the buoyant spirit of the coming consumer age.
There were, of course, a number of these "adjustment" films as the country struggled with a return to normalcy. Where this movie excels is with the uncertainty of a recovering civilian world. Each main character is drifting as a result of the war. Each has been changed and must now work out how to fit back in. Then too, I like the rather ambivalent way the movie ends, avoiding easy solutions.
There's one other sequence worth noting. The barroom brawl is both over-done and clumsily staged. Nonetheless, it makes an important point. Namely, that the war has changed society as well as individuals. A post-war America will be more inclusive than the traditional America. The logic appears to be that since it took everyone to win the war, no one should be excluded from the fruits. Given the civil rights movement soon to emerge, the movie thus proves prophetic. Too bad this worthy movie effort now seems so obscure. Despite the years, it remains an affecting look at a key period in American life and merits catching up with.
(In passing—that's filmmaker Blake Edwards of Pink Panther fame as the shop foreman that Cliff tangles with, soon to become a screenwriter, and then an A-picture producer-director.)
It' a decent, earnest movie, produced by the studio's (RKO) head honcho Dore Schary, so it's a prestige production. Looks like they took a gamble on an unknown Guy Madison in the lead role. He certainly looks the part—I can just about hear the echoing squeals of bobby- soxers even 60 years later. He does bring an earnestness that's refreshing, even if his range is pretty limited as the heavier scenes show. Newcomers Mitchum and the underrated Bill Williams also register, along with the dewy-eyed Dorothy McGuire before she became a favorite movie mom. But I especially like Jean Porter's vivacious teenager. It's really her Helen who projects the buoyant spirit of the coming consumer age.
There were, of course, a number of these "adjustment" films as the country struggled with a return to normalcy. Where this movie excels is with the uncertainty of a recovering civilian world. Each main character is drifting as a result of the war. Each has been changed and must now work out how to fit back in. Then too, I like the rather ambivalent way the movie ends, avoiding easy solutions.
There's one other sequence worth noting. The barroom brawl is both over-done and clumsily staged. Nonetheless, it makes an important point. Namely, that the war has changed society as well as individuals. A post-war America will be more inclusive than the traditional America. The logic appears to be that since it took everyone to win the war, no one should be excluded from the fruits. Given the civil rights movement soon to emerge, the movie thus proves prophetic. Too bad this worthy movie effort now seems so obscure. Despite the years, it remains an affecting look at a key period in American life and merits catching up with.
(In passing—that's filmmaker Blake Edwards of Pink Panther fame as the shop foreman that Cliff tangles with, soon to become a screenwriter, and then an A-picture producer-director.)
helpful•230
- dougdoepke
- Jul 9, 2010
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Details
- Release date
- Country of origin
- Language
- Also known as
- The Dream of Home
- Filming locations
- Los Angeles, California, USA(Vermont Avenue and 4th Street)
- Production companies
- See more company credits at IMDbPro
- Runtime1 hour 45 minutes
- Color
- Aspect ratio
- 1.37 : 1
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