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The Best Years of Our Lives
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Directed by William Wyler
The postwar classic The Best Years of Our Lives, based on a novel-in-verse by MacKinlay Kantor about the difficult readjustments of returning World War II veterans, tells the intertwined homecoming stories of ex-sergeant Al Stephenson (Fredric March), former bomber pilot Fred Derry (Dana Andrews), and sailor Homer Parrish (Harold Russell). Having rubbed shoulders with blue-collar Joes for the first time in his life, Al finds it difficult to return to a banker's high-finance mindset, and he shocks his coworkers with a plan to provide no-collateral loans to veterans. Meanwhile, Al's children (Teresa Wright and Michael Hall) have virtually grown up in his absence. Fred discovers that his wartime heroics don't count for much in the postwar marketplace, and he finds himself unwillingly returning to his prewar job as a soda jerk. His wife (Virginia Mayo), expecting a thrilling marriage to a glamorous flyboy, is bored and embittered by her husband's inability to advance himself, and she begins living irresponsibly, like a showgirl. Homer has lost both of his hands in combat and has been fitted with hooks; alhough his family and his fiancée (Cathy O'Donnell) adjust to his wartime handicap, he finds it more difficult. Profoundly relevant in 1946, the film still offers a surprisingly intricate and ambivalent exploration of American daily life; and it features landmark deep-focus cinematography from Gregg Toland, who also shot Citizen Kane. The film won Oscars for, among others, Best Picture, Best Director for the legendary William Wyler, Best Actor for March, and Best Supporting Actor for Harold Russell, a real-life double amputee whose hands had been blown off in a training accident. ~ Hal Erickson, All Movie Guide
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"What's the AFI project, you ask? For more information, or if you just enjoy my bemused ramblings, read here: http://www.spout.com/blogs/pip pin06/archive/2008/3/1/25756.a spx The Best Years of Our Lives is on the following AFI lists: The Original Top 100 (#37)100 Most Inspiring Movies (#11)The Revised Top 100 (#37) The Best Years of Our Liv " [More]
JakeStevensJakeStevens One Of Post WWII's Best
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"This is a brashly realistic film examining the manner in which WWII veterans were treated when they returned home. It's especially bold for a film that came out in the mid-40's to take such a honest look at the way our government, work force, and the general public seemed to chew up these young (and old) men alike and spit them back out. What's especially striking is Harold Russell's performance - he's a real veteran of the war with a disability that would be devastating " [More]
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Review by All Movie Guide
All Movie Guide
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When Samuel Goldwyn decided to make The Best Years of Our Lives, Hollywood was running away from World War II-related scripts as though the subject itself had the plague -- movies about men in uniform had been box-office poison since early 1945. The assumption was that returning veterans would be even less willing than those who'd stayed on the home front to shell out money to be reminded of their service. Goldwyn, director William Wyler, and screenwriter Robert E. Sherwood (working from MacKinlay Kantor's blank verse novel Glory for Me), and a cast from heaven (some of them, like Dana Andrews and Virginia Mayo, giving the greatest performances of their careers) proved the industry wrong, and they opened up a whole new subject area by focusing on the men giving up their uniforms, the women and children around them, and even the men who hadn't served. They ended up with a 170-minute movie whose every shot was dramatically and psychically spellbinding, embracing the relief, anxiety, pain, joy, and doubts that Americans could now express. The setting of the movie in a small city somewhere in the middle of the country gave it a Norman Rockwell veneer, while the script melded that background with some healthy cynicism and emotional honesty borne out of the movie world's new awareness of modern psychology. Thus, the film had its feet in both pre-war and post-war consciousness, appealing to two generations of filmgoers (or even three, as the World War I-era audience was still around and had hardly been served well in its own time). It not only set new standards for maturity in mainstream moviemaking, showing that you could please crowds even as you showed a few unpleasant truths about who and what we were, but also did a lot to ease audiences into the Hollywood era that produced such serious, topical dramas as Gentleman's Agreement, Crossfire, City Across the River, Home of the Brave, The Sound of Fury (aka Try and Get Me), The Wild One, On the Waterfront, and Goldwyn's own Edge of Doom. ~ Bruce Eder, All Movie Guide
 

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