Usually when movie lovers talk about legendary lost works in which auteur directors had their films taken from them and butchered by the American studios that produced them, they’re referring to “holy grails” of cinema such as Erich von Stroheim’s Greed (1924) or Orson Welles’s The Magnificent Ambersons (1942). But I recently stumbled across an account of another supposed lost classic, Swing Shift—Jonathan Demme’s tribute to America’s “Greatest Generation” of World War II and the women on the home front who found a new sense of self and independence by working for the war effort in the factories.
I actually really love the movie Swing Shift as it is but I hadn’t seen it in years. I remember my mom taking her mother to see it and letting me tag along. My grandma was part of that generation of women who did what they could for the war effort, whether it meant volunteering at the local USO or planting a Victory Garden in their backyards. By 1984, when the movie was released, that generation was elderly while I was only six. Seeing the movie as a kid, I think I just really loved the sentimental look at the U.S. during the 1940s. Taking place in Southern California, in Santa Monica, between the attack on Pearl Harbor and VJ Day, the film has a melancholic feel, with the sky looking perpetually overcast and the music usually something slow and beautiful, such as one of Jo Stafford’s torch songs. And though I don't remember if Glenn Miller's "Moonlight Serenade" is on the soundtrack it really should be.Continue Reading
The Best Years of Our Lives
It's not a great movie but then perhaps it is still the best of its kind of film. There's an element of national catharsis that The Best Years of Our Lives channels, redeeming it from whatever middlebrow pretensions it uses to get there. In aesthetic terms it may be nothing more than a syrupy drama that presumes to show the "reality" that G.I.s from WWII faced when they returned home but, clunky soap operatics aside, it does fulfill a need for some kind of closing statement from Hollywood about the emotional toll the whole wretched thing took on average people.
Similar ground had been covered by the turgid Since You Went Away two years earlier but whereas that celluloid headache made you pine for the hours lost trudging through its "epic" pretensions, The Best Years of Our Lives has enough good stuff to make it worthwhile viewing.
The film follows three G.I.s at varying levels of command returning home, just as World War II ends, to a Midwestern town modeled, apparently, on Cincinnati. Frederic March plays a genial middle-aged boozy banker with a grown daughter and Myrna Loy for a wife while Dana Andrews plays a young war hero who returns to his crummy soda jerk job and terrible marriage. Harold Russell, a non-actor who had his hands blown off in WWII combat, plays a variation on himself (he would go on to win two Oscars for the role—Best Supporting Actor and a special honorary Oscar). The three men, heretofore unknown to one another, become fast friends on the plane ride home. We follow all three of their stories as they adjust to life at home and see their lives intertwine in meaningful ways.
For such a grand Samuel Goldw...