The Best Years of Our Lives (1946)

Three World War II veterans return home to small-town America to discover that they and their families have been irreparably changed.

Director:

William Wyler

Writers:

Robert E. Sherwood (screen play), MacKinlay Kantor (from a novel by) (as Mackinlay Kantor)

Stars:

Myrna Loy, Dana Andrews, Fredric March

Top Rated Movies #245 | Won 7 Oscars. Another 14 wins & 2 nominations.

Cast

Cast overview, first billed only:
Myrna Loy	...	Milly Stephenson
Fredric March	...	Al Stephenson (as Frederic March)
Dana Andrews	...	Fred Derry
Teresa Wright	...	Peggy Stephenson
Virginia Mayo	...	Marie Derry
Cathy O'Donnell	...	Wilma Cameron
Hoagy Carmichael	...	Butch Engle
Harold Russell	...	Homer Parrish
Gladys George	...	Hortense Derry
Roman Bohnen	...	Pat Derry
Ray Collins	...	Mr. Milton
Minna Gombell	...	Mrs. Parrish
Walter Baldwin	...	Mr. Parrish
Steve Cochran	...	Cliff
Dorothy Adams	...	Mrs. Cameron

Storyline

The story concentrates on the social re-adjustment of three World War II servicemen, each from a different station of society. Al Stephenson returns to an influential banking position, but finds it hard to reconcile his loyalties to ex-servicemen with new commercial realities. Fred Derry is an ordinary working man who finds it difficult to hold down a job or pick up the threads of his marriage. Having had both hands burnt off during the war, Homer Parrish is unsure that his fiancée's feelings are still those of love and not those of pity. Each of the veterans faces a crisis upon his arrival, and each crisis is a microcosm of the experiences of many American warriors who found an alien world awaiting them when they came marching home.

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Plot Keywords:

readjusting to civilian life | world war two veteran | bombardier | pharmacy | post war | 

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Taglines:

The Most Honored Picture of All Time (1954 widescreen reissue)

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Genres:

Drama | Romance | War

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Certificate:

Not Rated

Details

Country:

USA

Language:

English

Release Date:

3 October 1947 (France)

Also Known As:

Glory for Me

Filming Locations:

Walnut Hills High School - 3250 Victory Parkway, Cincinnati, Ohio, USA

Box Office

Budget:

$2,100,000 (estimated)

Gross USA:

$23,650,000

Cumulative Worldwide Gross:

$44,309,982

Company Credits

Production Co:

Samuel Goldwyn Company, The

Technical Specs

Runtime:

170 min

Sound Mix:

Mono (Western Electric Recording)

Color:

Black and White

Aspect Ratio:

1.37 : 1

Did You Know?

Trivia

Harold Russell's character was originally written as a war veteran suffering from combat trauma. This was changed to a physical disability when Russell joined the cast.

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Goofs

Reflected on the car on the left side of the screen, when Fred kisses Peggy.

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Quotes

[Al is explaining to the bank president why he made the loan to Mr. Novak]
Al Stephenson: You see, Mr. Milton, in the Army I've had to be with men when they were stripped of everything in the way of property except what they carried around with them and inside them. I saw them being tested. Now some of them stood up to it and some didn't. But you got so you could tell which ones you could count on. I tell you this man Novak is okay. His 'collateral' is in his hands, in his heart and his guts. It's in his right...

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Crazy Credits

The character played by Ray Teal (the Axis sympathizer whom Homer Parrish attacks at the soda fountain) is listed in the credits as "Mr. Mollett". However, the character's name is never mentioned or otherwise alluded to.

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Connections

Featured in American Masters: Directed by William Wyler (1986)

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Soundtracks

Chopsticks
(1877) (uncredited)
Music by Euphemia Allen
Played on piano by Hoagy Carmichael and Harold Russell

User Reviews

Highly structured but flawless and really moving drama about returning G.I.s

The Best Years of Our Lives (1946)

The whole point of this film when it was released still makes perfect sense today, though I'm sure it doesn't have the same impact it did in those first years after World War II ended. Returning servicemen, with all kinds of backgrounds before and during the war, hit a wall coming home: wives who no longer loved them, jobs that had dried up, a culture that was foreign to them and that found them, these men, to be foreign themselves.

It wasn't a crisis to take lightly. These were the guys who were drafted to fight the enemy, and in going overseas they lost some of the best years of their lives, if not their lives. The country knew its debt in the abstract, but it also knew it in sons and husbands who really did come home and who had to face it all. This movie was both a reckoning for the sake of national healing and a brilliant drama that would be beautifully pertinent and therefore successful. And what a success, then and now.

The consummate Hollywood director William Wyler shows in this fast, long movie just what a master he is at working the medium. With Gregg Toland at the camera, Wyler makes a highly fluid movie, visual and dramatic and weirdly highly efficient. With the three main plots interweaving and depending on each other, the drama (and melodrama) build but never beyond plausibility. Wyler knew his audience wouldn't put up with pandering or cheap mistakes. Casting Harold Russell as Homer, knowing the audience would hear about how Russell really was a soldier who lost both hands in the war, was a huge step toward creating both empathy and credibility. It even practices a key theme in the move--to go beyond your bounds to make a difference, to give these guys a break and help them assimilate.

It's interesting how singular this movie is, trying to show the truth in these kinds of situations. The other post-war films about army and navy men fall into two large and dominating categories--war films and film noir. And it is film noir that comes closest to getting at the problem of the G.I. not reintegrating well, making it a whole style, brooding and spilling over with violence. "The Best Years of Our Lives" has a highly controlled and even contrived plot structure, but it aims to be honest and representative.

That it's remarkable formally--the way it is shot and edited and acted, top to bottom--is not surprise, given the heights that Hollywood had reached by then, and given that Wyler is easily the slickest of them all, in the best sense. That the movie makes such beautiful sense and really works as a story, a moving and heartwarming story without undue sappiness, is a whole other kind of achievement. A terrific, rich, full-blooded, uncompromised movie.