By Leonard Quart
During this most up-to-date replace to American movie and Society on the grounds that 1945, the authors extend upon prior versions by way of including motion pictures formerly ignored, and increase their research of a few motion pictures via discussing how those works trap the temper and values of yank society in a selected decade. Interpretation of movies can contain direct connections with social and political matters, yet usually care for the $64000 subtext of goals, wishes, and displacements that the yank public feels. fresh motion pictures that current homosexual relationships and politics, equivalent to Brokeback Mountain and Milk, and that deal with race relatives and concrete real looking Crash and useful are tested. This fourth variation additionally addresses adjustments within the glossy movie similar to convergence and the electronic revolution.
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Additional info for American Film and Society since 1945
There is a close-up of a sweating, feverish Fred; the sound of engines on the sound track; and a nightmarish shot of Fred through the blurred glass of the cockpit. It’s a sequence that provides a profound insight into Fred’s relationship to a war that gave him both a sense of power, selfesteem, and pain. By reliving the war in this one scene, both Fred and the movie audience get a chance to exorcise the war experience. The postwar adjustment of the third veteran, the inarticulate, vulnerable Homer (Harold Russell), is sensitively and honestly rendered.
Despite its limitations, The Best Years’s emotionally moving scenes, its formal luminosity, and its well-defined characters did provide a genuine glimpse of postwar American life. And though it ultimately allowed each of its characters a graceful, albeit predictable, reentry into postwar American society, it suggested that there were genuinely real and traumatic problems inherent in returning home from the war. There were also hints that underneath the film’s essentially optimistic surface there existed some feelings of doubt about America’s future.
The film is constructed, without a driving narrative to propel it, as a series of abruptly terminated scenes that powerfully capture the pathos and tragedy of the war. Wellman’s infantrymen are not clean shaven or well fed, and the war takes a palpable toll—all the men are exhausted by the day-to-day slogging and fighting; a tough sergeant, obsessed with home and his son’s voice, has a breakdown; and the strong, quietly dignified captain of the platoon, Bill Walker (Robert Mitchum), who is a towering figure, dies.
American Film and Society since 1945 by Leonard Quart