At one stage this was the second biggest box office hit in Hollywood, topped only by Gone with the Wind. It was a zeitgeist film par excellance, just what the public wanted in 1946 (just like director William Wyler achieved a few years earlier with Mrs Miniver, and later on with Ben Hur). It was also the pinnacle of Sam Goldwyn’s career, and a sort of symbol of the passing of classical Hollywood – 1946 would be it’s high point, and just like the veterans from then on filmmakers were entering unchartered waters. I think it’s safe to say the film’s reputation hasn’t survived the years that well; it remains a very well made piece of entertainment, sensitive direction, strong acting, etc – but it’s impossible for it to have the same impact it did at the time.
The film is a definitive example of popular drama: it touches on some really serious subjects (the dissatisfaction of returning to the old life, drinking problems, reconnecting with family, living with disabilities, coming home to find missus is a tramp) – but is also reassuring (banks eventually loan to veterans without collateral, each three of the male s has a loving, understanding woman to comfort them).
Frederick March has some fine moments, such as looking at himself in front of the mirror, but his drunk scene goes on too long. I was knocked out by Dana Andrews, young, confident and good looking, as the dissatisfied returning veteran – it hinted a better career than he had (but then he was a big time boozer). Virginia Mayo is good as his wife (she made an ideal good time girl, Mayo, as she did in White Heat – like that her boyfriend is played by Steve Cochrane). Myrna Loy, Teresa Wright and Cathy O’Donnell all make what is actually a difficult part to play – loving women – fresh and moving. But it’s Harold Russell, real life amputee, who gives the film it’s real power.
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