It has been said that few films have captured the post-war American Zeitgeist so well as The Best Years of Our Lives. I can't say for certain from my own perspective, as World War II ended over twenty years before I was born. As an Army brat, however, I do know a thing or two about the adjustment of soldiers to civilian life. It was hard on my father when he retired from a long and successful military career, only to see his accomplishments as an officer denigrated by civilians. What a blow to his dignity it was to see his varied and rich experiences count for nothing in the so-called "real world." The Best Years of Our Lives is an illustration of the apathy many people share towards those who risked or lost life and limb in the service of their country. Perhaps the film's message resonated more for me than for other viewers, but I consider it to be the finest drama set in contemporary America that I have ever seen.
It is 1946; the war is over, and the long, slow demobilization of the military has begun. It is hard to get back home when there is a transportation shortage, as Captain Fred Derry (Andrews) finds out. Eventually, he bums a ride in the cargo section of a plane along with Homer Parrish (Russell) and Al Stephenson (March). They were all from different branches of the military: Derry was an Air Force officer, Stephenson an Army sergeant, while Parrish was a Navy seaman. The flight home bonds the men together, as brothers-in-arms are able to do at short notice.
Once the men arrive home, we view, in somewhat episodic fashion, how their lives progress. The transition is easiest for the middle-aged Stephenson, who returns home to a loving wife (Myrna Loy) and grown children. He is given a better job in the bank than he had previously had, and all would seem to be well. Still, he seems unsatisfied with his station, after having been a leader of men on the battlefield. Eventually, he rankles his employer for approving loans to former servicemen who don't have collateral.
The one who seemingly would have the worst lot is Homer, who had both of his hands amputated. Russell, who played the role, was indeed a double amputee. He is very dextrous with his artificial limbs, however, and seemingly should do all right. While he doesn't mind strangers being conscious of his handicap, however, he cant bear his family, and especially his fiancee Wilma (Cathy O'Donnell) seeing him without his hands. His real disability is not physical, but emotional.
Of the trio, the one least able to cope with his new situation is Derry. Although he had a glamorous job as a bombardier during the war, his experiences there scarred him mentally. He is unable to get a good job with his military credentials alone, and has to get by on a meager salary from a soda-jerk job. Worst of all, he finds that he and his wife (Virginia Mayo), who he had known for only a few weeks before being shipped off to war, no longer love each other. Although war was hell, peace does not do him much good, either.
Fredric March won his second Best Actor Oscar for the role of Al Stephenson, playing him like a redeemed Sinclair Lewis character: Babbitt unchained. Possibly the finest performance of the film, however, is that of Dana Andrews. His career consisted chiefly of low-budget movie leads, but here, he makes Fred Derry a frighteningly realistic character, one who must begin again, who has lost the best years of his life to World War II, the most destructive event of all time. His performance here is the spiritual godfather to all "disturbed veterans" films.
The remainder of the cast is uniformly impressive, with Myrna Loy and Teresa Wright making the strongest impressions as Stephenson's sympathetic wife and daughter, respectively. This film is the career highlight for virtually everyone connected with it, from the cast right on down to the tech credits.
Cinematography is by Gregg Toland, the inventer of the "deep focus" technique used here. His interior work anticipates that of Gordon Willis: both men find as much beauty in indoor shots as can be found in panoramic vistas. The cinematography here is far superior to the status quo of the 1940's.
Hugo Friedhofer, composer of the score, seems to be imitating that most American of composers, Aaron Copland, but he does so capably. His score is wistful and evocative of "down home" heartland America.
Producer Sam Goldwyn publicized The Best Years of Our Lives as an event film, a work of art of great importance. For once, he was not exaggerating. What could have become a soaper ends up being a profound statement about the state of things in post-war America. It is William Wyler's masterpiece, a nearly flawless film, and a classic of American cinema.
Four stars
Copyright 1998 by Dale G. Abersold
