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The Best Years of Our Lives (1946)

Approved | | Drama, Romance, War | 29 May 1947 (Mexico)
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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)
Won 7 Oscars. Another 14 wins & 3 nominations. See more awards »

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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
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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. Written by alfiehitchie

Plot Summary | Plot Synopsis

Taglines:

Three wonderful loves in the best picture of the year! See more »

Genres:

Drama | Romance | War

Certificate:

Approved | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

USA

Language:

English

Release Date:

29 May 1947 (Mexico) See more »

Also Known As:

Glory for Me See more »

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Box Office

Budget:

$2,100,000 (estimated)

Gross USA:

$23,650,000

Cumulative Worldwide Gross:

$23,656,620
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (Western Electric Recording)

Aspect Ratio:

1.37 : 1
See full technical specs »
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Did You Know?

Trivia

To avoid awkwardness when he first met his fellow cast members, Harold Russell made a point of reaching out with his hooks and taking their hands, thus putting them at ease with his disability. See more »

Goofs

When the three war veterans board the B-17, the insignia on the side of the fuselage is correct for post-World War II (after September 1945), a white star on a blue disc with white bars on the left and right sides of the disc. However, when the B-17 is taking off, there is a brief glimpse of just a white star on a blue disc with no white side bars, the official insignia used from August 1942 to June 1943. See more »

Quotes

Peggy Stephenson: I've made up my mind.
Al Stephenson: Good girl.
Milly Stephenson: To do what?
Peggy Stephenson: I'm going to break that marriage up! I can't stand it seeing Fred tied to a woman he doesn't love and who doesn't love him. Oh, it's horrible for him. It's humiliating and it's killing his spirit. Somebody's got to help him.
See more »

Crazy Credits

Only twelve cast members are listed in the opening credits. Cathy O'Donnell receives an "and introducing" credit before her name. Victor Cutler, who plays Woody, is listed last in the opening credits but does not appear in the cast list of 23 names in the end credits. See more »

Alternate Versions

The film was modified to play on a wide screen and reissued on February 3, 1954. See more »

Connections

Referenced in Happy Days: Letting Go (1982) See more »

Soundtracks

Beer Barrel Polka (Roll Out the Barrel)
(1927) (uncredited)
Music by Jaromir Vejvoda
Played on piano by Hoagy Carmichael
See more »

Frequently Asked Questions

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User Reviews

An extraordinary, moving post-war film
7 April 2000 | by steve-642See all my reviews

I first saw this film (one of my top ten favorites) in 1995 on the big screen, as part of the commemorations for the 50th anniversary of the end of WWII. It had an impact that was so strong that it's never left me--I've seen it many times since, and with each viewing the film seems to reveal new artistic richness and spiritual depth.

William Wyler's direction is breathtaking. One of the most moving scenes occurs early on in the film, when Homer, the young disabled Navy veteran, arrives at his family home and stands for a moment on the front lawn. For that one second there is an exquisite stillness that communicates a depth of emotion that can't be expressed physically. Then, just as the tension becomes almost unbearable, Homer's little sister Louella comes to the front door and runs out to greet him. In a similar way, the scene where Al Stephenson comes home to his wife and children is so finely directed you can almost feel that you're in the apartment with them--that it's your husband or father come home to you from the war--and you're experiencing the sheer elation of their physical nearness.

This aspect of the film--its portrayal of the joys and hardships of post-war readjustment and the veterans' experience--is what makes it so enlightening, honest and powerful. As a young woman, I have never experienced wartime or had my father, brothers or friends go off to fight. The film moves swiftly but seamlessly from the initial joy of homecoming and reunion to the problems, anxieties and humiliations that the three veterans encounter as they attempt to build a new life for themselves and their families.

I found it interesting how the film tries to give a picture of the different socio-economic backgrounds of the three men, and show the emergence of an affluent, market-driven economy. While this in itself is not bad, different episodes in the film show how this economic approach can conflict sharply at times with enduring human values such as integrity and justice. Al's dealings with the young veteran Mr Novak, who comes to him for a service loan to buy a farm, and his later (slightly tipsy) speech to a business gathering show this. Al declares at the end of his speech that when the bank lends money to poor veterans it will be a financial gamble but "we'll be gambling on the future of this country".

The film's interweaving of the characters and their struggles never falters and is deeply satisfying. Even as Al and Milly, Homer and Wilma gradually move towards a happy resolution of their difficulties this positive strand of the film is counter-balanced by the focus on Fred, the courageous Air Force captain who, in the eyes of the commercial world is "unqualified", suitable only for a job at a soda fountain, and in the eyes of his war bride, Marie, is only wonderful when he's dressed up in his officer's uniform. Fred's situation seems only to deteriorate and at one point in the film, after he farewells his elderly father to leave town and look for work, the father finds the citations for Fred's medals and sits down to read them. As he reads the words describing Fred's bravery and dedication to duty while he was terribly wounded in his aircraft, Pat Derry's voice nearly breaks with pride and love for his son. The film beautifully juxtaposes Fred's unselfish conduct and willingness to make the ultimate sacrifice with the cold indifference of a country in peacetime that does not want him and seemingly has no place for him.

The actors are uniformly impressive and really make their characters come alive. Dana Andrews is especially outstanding together with two young actors making their debut, Harold Russell and Cathy O'Donnell, as Homer and Wilma. Personally, I loved Homer and Wilma's story the best among those of all the characters,and the resolution is a simple, sensitively shot scene that lifts the whole film to a new point of happiness, gratitude and release. Both Cathy O'Donnell and Teresa Wright are lovely, gifted actresses with a slightly understated style, that is perfectly suited to the film's restrained but powerful tenor. This is demonstrated especially well in the tense scene where Wilma tries to talk to Homer in the shed, and in the scene where Peggy confides her heartache to her parents.

One feature that adds significantly to the film's quality is Hugo Friedhofer's score. The music is remarkably fresh and undated, has a strong, classic sound, and is poignant without being too romantic or sentimental (a flaw often found in other 1940s film scores).

The producer, Samuel Goldwyn, reportedly said of this film: "I don't care if it doesn't make a nickel...I just want every man, woman and child in America to see it". Although I'm not American (I am Australian) I found this film, with its universal human themes and its portrayal of post-war readjustment, speaks to anyone who shares in this heritage of WWII. Tell others about this film--it is breathtaking, beautiful and brave. See it and remember.


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