The Best Years of Our Lives** (1946)

As I write this review of a film following three World War II veterans struggling to reacclimate into everyday life, a heated debate is raging about a film that looks at the same issue. While I have yet to see American Sniper, I have to wonder if this film sparked any controversy upon its release. Re-entry into civilian life was either taboo or not on Hollywood’s radar before The Best Years of Our Lives was made. Granted, the golden age of Hollywood was in the roaring 20s, when glitz and glamour were in vogue and long after the end of World War I, and production codes restricted a wide range of content from being put on film. The content of this film feels like it should have been risky, which is why I think it is so powerful.

Three servicemen meet while heading home after World War II and discover that they all live in the same town. Al Stephenson (Fredric March) returns to a loving upper-middle class family and a job as a loan officer at a bank. Homer Parrish (Harold Russell) lost his hands in the war and is nervous how his fiancée and their families will react to his disability. Fred Derry (Dana Andrews) returns to an unskilled job and a wife who is tired of scraping by. The three men find themselves leaning on each other as they all struggle to rejoin civilian life.

This is a very honest film in its presentation of civilian America. All of the sets were built to real size as opposed to the oversized architecture common to Hollywood films of the day. All of the costumes are real off-the-rack items instead of designed and perfectly tailored by a costuming department. All of this adds up to a tight, authentic look that feels almost like a documentary at times. If you don’t know these facts, then you might find the aesthetic elements of the film to be lackluster. I don’t hold this against the film but the length of it made me restless at times.

The Best Years of Our Lives comes in at just under three hours long. I think any viewer would get fidgety in that final hour because the film lacks any external conflict or rising tension. Instead, it’s like a three-hour case study of three veterans struggling to figure out who they are and what they believe after the war. What we do have are three genuinely interesting men struggling internally with how they want to define themselves. As the film goes on, each of these characters develop in their own way. Harold Russell provides a completely honest portrayal of struggling with disability but he also struggles with his more emotional scenes (this was his first experience as an actor).

Perhaps this film avoided any controversy over its subject matter because it was treated with respect and earnestly raised awareness of the struggles of veterans. Had it been more exploitative or made veterans look bad there probably would have been a row. Still, I was shocked to see Al’s daughter declare her intentions to break up Fred’s struggling marriage in a film made in the 1940s.

Its length and slow but true-to-life pace may turn some off but this really is an excellent film. Other than a few deep focus shots, there isn’t much to see in this film that will dazzle you but that is by design. The film appeals so well to the emotions that one can’t help but root for each of the three principals to find their place in the world. Younger audiences may not care for The Best Years of Our Lives but this is certainly a case of slow and steady winning the race.

RATING: 4 out of 5

The Great Ziegfeld** (1936)

In just eight years, the Academy of Motion Picture Arts and Sciences’ top prize has gone to just about every major film genre of the era. With the crowning of The Great Ziegfeld as the ninth ever official winner for Best Picture, the Academy ushered into its ranks what has come to be a time-honored tradition of awards season- the biopic. Cynics may argue that this film is a sappy example of Hollywood’s self-loving of all things showbiz. Hindsight isn’t always 20/20 though, because, while the story may not be riveting by modern standards, this little gem holds plenty of acting, writing, and technical prowess to be worthy of its place in Oscar history.

As a young man, Florenz (Flo) Ziegfeld (William Powell) sets out to make it in show business, much to the chagrin of his music professor father. Over the years, Flo finds himself in constant competition with fellow promoter Jack Billings (Frank Morgan). From carnival attractions to singers to Broadway musicals, Flo always finds his way on top. Determined to be a game-changer in entertainment, Flo’s lifelong quest to be an American original has many ups and downs both personally and professionally.

At first this seems like quite a daunting film to take in. At over three hours long (including the overture and entr'acte), this is still one of the ten longest Oscar winners of all time. Your time will be rewarded though, and how! There is something for aficionados of every branch of filmmaking to appreciate here and even general audiences who don’t normally care to spot the little details will have a good time. Does it drag a little bit? Yes, particularly in the second act, when we see more of Flo’s personal troubles. That might make some people squirm a little bit but if you are wise enough to take a break between acts, you should have little trouble managing it.

Many of the sets are glorious in detail and (at times) impressive in scope. Choreography and blocking prove to be stunning feats if you take time to consider the logistics of the large-cast sequences. And what film about an early titan of Broadway would be complete without including the songs that took him to prominence? A few new numbers are added as well, all of which are delightful. For me though, the icing on the cake is the use of extended takes. Several of them exist but the granddaddy of them all occurs just before the entr'acte. It’s actually two extended takes edited together so seamlessly that you’d swear it was one ridiculously intricate 5-minute sequence. This scene single-handedly bounced this film up a notch into my ‘great’ range.

Tying the film together are the writing and performances. Anytime a film includes crisp one-liners and charm, it’s natural to credit the actors first. William Powell has a Clark Gable-esque presence as Flo Ziegfeld. He’s charismatic but authentic, a far cry from the morally ambiguous aura currently demanded from the biopic genre. Behind all the wit and charm lies some powerful writing. If you consider the length of The Great Ziegfeld, it’s all the more impressive that a writer can sustain all those magical qualities. Granted, it’s up to the actors to infuse those words with all the necessary pizazz to make the film watchable, but without a firm foundation, performances are nothing.

As much as I appreciate this film, I understand that it will not be everyone’s cup of tea. It’s not a musical in the way musical fans will expect. If you’re looking for an early Singin’ in the Rain, you’ll be out of luck. The musical numbers are all within the context of Ziegfeld shows. Old but not creaky, dated but still aging well, The Great Ziegfeld is a joyous blend of romance, drama, style and substance. If you find yourself in a position to take in this all but forgotten about Oscar winner, I recommend you do so.

RATING: 4 out of 5