This American masterpiece came as near perfection as popular art contrives to be, from its beautifully equivocal and suggestive title to the magnificent performance elicited by William Wyler from the nonprofessional amputee Harold Russell
The film epitomized both the dream and the reality of the postwar world This intimate engagement with the psychological facts of American life gave it an almost universal audience But, unlike contemporary and preceding "message" pictures, it was not a preachment It showed Americans as they are, presented their problems as they themselves see them, and provided only such solutionspartial, temporary, personalas they themselves would accept The picture's values are the values of the people in it
William Wyler, an outstanding director, triple winner of the best picture Oscar, adds an air of distinction to melodrama, epic and Westerns... With his distinguishing visual style and his taste for solemn material, he gained a reputation as a meticulous, serious artist... Wyler's most adept use of deep-focus reveals the real commitment to emotional content...
The film tells the story of three men coming home from war to a small middle-American community, and find it variously difficult to pick up where they left off... The three heroes are: a middle-aged sergeant (Fredric March), magnificent as the devoted family man who succeeds in breaking the ice with his family; an incisive Air Force captain (Dana Andrews) returning to an unfaithful wife; and a tormented sailor (Harold Russell) who has lost both hands in service, replaced by hooks in real life...
Winner of 7 Academy Awards including Best Picture, "The Best Years of Our Lives" is eloquent and compassionate, a deeply personal motion picture with touching wordless homecoming scenes:
With her dry-martini voice, Myrna Loy combines charmingly her wifely qualities with motherly ones; Teresa Wright is lovely as the sergeant's nice daughter who falls in love with the pilot; Virginia Mayo is harsh as the disloyal flashy blonde wife whose first loves are money and high life; and Cathy O'Donnell is wonderful and sensitive as the sailor's fiancée...
The situations and even some of the characters seem a little obvious, but this is a superb example of high-quality film-making in the forties, with smiles and tears cunningly spaced and a film which says what is needed on a vital subject...
The film epitomized both the dream and the reality of the postwar world This intimate engagement with the psychological facts of American life gave it an almost universal audience But, unlike contemporary and preceding "message" pictures, it was not a preachment It showed Americans as they are, presented their problems as they themselves see them, and provided only such solutionspartial, temporary, personalas they themselves would accept The picture's values are the values of the people in it
William Wyler, an outstanding director, triple winner of the best picture Oscar, adds an air of distinction to melodrama, epic and Westerns... With his distinguishing visual style and his taste for solemn material, he gained a reputation as a meticulous, serious artist... Wyler's most adept use of deep-focus reveals the real commitment to emotional content...
The film tells the story of three men coming home from war to a small middle-American community, and find it variously difficult to pick up where they left off... The three heroes are: a middle-aged sergeant (Fredric March), magnificent as the devoted family man who succeeds in breaking the ice with his family; an incisive Air Force captain (Dana Andrews) returning to an unfaithful wife; and a tormented sailor (Harold Russell) who has lost both hands in service, replaced by hooks in real life...
Winner of 7 Academy Awards including Best Picture, "The Best Years of Our Lives" is eloquent and compassionate, a deeply personal motion picture with touching wordless homecoming scenes:
- The first words of the sergeant's loving wife when he arrives home unexpectedly: "I look terrible! It isn't fair of you to burst in on us like this."
- The involuntarily sob of the sailor's mother when she first sees her son's mechanical hands... She blurts out: "It's nothing!"
With her dry-martini voice, Myrna Loy combines charmingly her wifely qualities with motherly ones; Teresa Wright is lovely as the sergeant's nice daughter who falls in love with the pilot; Virginia Mayo is harsh as the disloyal flashy blonde wife whose first loves are money and high life; and Cathy O'Donnell is wonderful and sensitive as the sailor's fiancée...
The situations and even some of the characters seem a little obvious, but this is a superb example of high-quality film-making in the forties, with smiles and tears cunningly spaced and a film which says what is needed on a vital subject...