The Best Years of Our Lives (1946) (1 Viewer)

[Tino]

I’d like to think I played a very small part on this project in a roundabout way due to the Steven Spielberg thread I started. So a tiny little thank you at the end of this-I’m sure to be great-commentary will be greatly appreciated.

 

[Carabimero]

I’d like to think I played a very small part on this project in a roundabout way due to the Steven Spielberg thread I started. So a tiny little thank you at the end of this-I’m sure to be great-commentary will be greatly appreciated.

I remember back around 1989 I wanted to write a Star Trek novel. I thought I had a unique idea about Khan in the Mirror Universe...he was a great moral hero! Anyway, before I ever wrote a word, I penned an acknowledgment page, where I thanked a bunch of people who made it possible. My agent read it and said, "Don't you think you should write the book first?"

I never forgot that!

 

[Blimpoy06]

I remember back around 1989 I wanted to write a Star Trek novel. I thought I had a unique idea

I went through a similar process in the mid 90's when I was considering writing a screenplay for Star Trek DS9. I was going to have a co-writer on the project. When he would pitch an idea I would counter with "Yes, but it's very similar to so and so". It turned into a scenario that South Park used when Butters was trying to come up with a plan to create chaos around town. "Simpsons did it" Needless to say we never wrote anything.

I enjoy your insight on film and television Alan. You have a knack for distilling ideas into their essence. You find something relatable on a personal and human level in every story. I admire that. I was debating suggesting you create a thread of your own. Sort of a writing seminar. But it seems this thread is becoming that and much more. I wish you luck in your commentary. A suggestion for your approach. Pretend you are speaking to one person. Anticipate their questions and maintain a conversational tone. Something I used to do in my radio days. Good luck. I can't wait to hear more about your endeavor.

 

[Carabimero]

I went through a similar process in the mid 90's when I was considering writing a screenplay for Star Trek DS9. I was going to have a co-writer on the project. When he would pitch an idea I would counter with "Yes, but it's very similar to so and so". It turned into a scenario that South Park used when Butters was trying to come up with a plan to create chaos around town. "Simpsons did it" Needless to say we never wrote anything.

I enjoy your insight on film and television Alan. You have a knack for distilling ideas into their essence. You find something relatable on a personal and human level in every story. I admire that. I was debating suggesting you create a thread of your own. Sort of a writing seminar. But it seems this thread is becoming that and much more. I wish you luck in your commentary. A suggestion for your approach. Pretend you are speaking to one person. Anticipate their questions and maintain a conversational tone. Something I used to do in my radio days. Good luck. I can't wait to hear more about your endeavor.

I appreciate that. It encourages me to keep posting on this topic. Thank you.

The problem with doing a writing seminar is my belief that anyone, including me, who says they have writing figured out, that "this is the correct way," well, they're flat-out wrong. If someone truly did have writing figured out, everybody would be following their techniques (and making a fortune).

I can only tell you the basic things I practiced to teach myself to write well.

1) I read a lot. In his book, On Writing, Stephen King says if you can't make the time to read, you can't make the time to write. But more than that, I slowed myself down when I read, so words could work their magic. I tried to understand and respect how the right word in the right spot made the difference. I improved my vocabulary. I asked myself, "Why did the author make this choice or that choice? Why did they structure their story this way? What did they gain (and lose) from their choices?" I scrutinized my favorite writers--right there on the page where they live forever--and learned in theory how they did it so successfully. Then I imitated them. For years.

2) I moved somewhere (Hollywood) that exposed me to new ideas and challenged my beliefs. I took the plunge right out of school, before I had a job, a house, a bank note, and kids. Then I did something even harder: I tried to stop making pejorative judgments about others in my strange new world. Of course I had to make judgments--everyone does--but I tried not to make them in a way that put others in a bad light. I tried to understand another person's point of view, to see the world the way they did. I developed the habit of scrutinizing my assertions. I questioned. I tried to be skeptical of my conclusions. I was, finally, honest about why I wanted to write. First it was for fame and fortune. Then I just wanted to scratch out a living. Today it's because, alas, I believe I have something worthwhile to express.

3) I learned to use my senses (sight, sound, taste, touch, smell, and the sixth sense, the psychic sense) to develop and express my perceptions using details. I developed my own particular manner of expression using details from my senses. I stopped worrying about my ideas being stolen because I realized that ideas are not property; it's the particular manner of expression of an idea in fixed form that has value (and is protected by law). What I'm describing is better known as "style."

It took me nearly fifteen years of hard work, rejection, and sacrifice to teach myself to write well enough to get a Hollywood literary agent. And even if I'd possessed nearly every talent in the world, it would've been impossible without the one talent I truly needed: persistence.

Only through persistence was I able to teach myself to write well.

And that's my writing seminar.

My challenge with this commentary is taking ideas already acknowledged and conveying them with my own particular manner of expression. For example, the idea of "framing" in Best Years. That's where Gregg Toland, the cinematographer, frames a shot, like when he shoots Homer through a doorway. The doorway becomes a frame around Homer, like a picture frame.

It's not my discovery that Toland likes to do this. What is my discovery is what I think it brings to the movie from my own unique point of view, my own particular manner of expression. How well can I articulate that? How well can I convince the viewer that my vision of Toland's technique has value and enhances the power of the storytelling? Can I help someone see this movie in a new way and have a deeper appreciation for it?

That's one of the many challenges of this commentary when it comes to things that I'm not the first to point out about this wonderful movie. And there are a lot of those things. But I welcome the challenge. And I'm grateful for the interaction this forum, and especially this thread, provides.

 

[Blimpoy06]

And that's my writing seminar

Looks like I misspoke, or didn't describe my intentions well. (Look who needs writing practice). I should have said the deconstruction of a film pertaining to the writing. Basically the type of analysis you are doing here. Sorry. I appreciate the tips in spite of my lack of eloquence.

 

[Carabimero]

Looks like I misspoke, or didn't describe my intentions well. (Look who needs writing practice). I should have said the deconstruction of a film pertaining to the writing. Basically the type of analysis you are doing here. Sorry. I appreciate the tips in spite of my lack of eloquence.

No need to apologize. Sometimes I'm guilty of not reading clearly. I think it's just part of communicating on a message board. Despite our best efforts, the message we intend is occasionally not the one that's received.

 

[Carabimero]

According to a 1947 American Legion magazine, Al’s medals are: a Bronze Star, a Good Conduct Medal, Purple Heart, Victory Ribbon, Asiatic-Pacific Ribbon, Distinguished Unit Badge, Combat Infantryman’s Badge, and a Philippine Liberation Ribbon.

Al was a sergeant in the 25th infantry division.

 

[Tony Bensley]

Speaking of connections, Gregg Toland also did the cinematography for LES MISERABLES (1935), which also starred Frederic March!

Just thought that I'd point this out!

CHEERS!

 

[Carabimero]

Speaking of connections, Gregg Toland also did the cinematography for LES MISERABLES (1935), which also starred Frederic March!

Just thought that I'd point this out!

CHEERS!

Thanks. As part of this process I am going to watch as many movies shot by Toland as I can find.

Funny how not having a deadline usually adds more fun to a project.

 

[Tony Bensley]

Thanks. As part of this process I am going to watch as many movies shot by Toland as I can find.

Funny how not having a deadline usually adds more fun to a project.

I highly recommend LES MISERABLES, especially if you've never seen it. As I recall, Gregg Toland's use of light and shadow in that film was spectacular!

CHEERS!

 

[Carabimero]

Post 1 of 50

The background pattern of the opening title card has always reminded me of a quilt my grandmother used to tuck me in with when I slept over at her house. It was usually warm, just out of the dryer, and it smelled good.

From the first shot to the last, The Best Years Of Our Lives has always seemed to speak to me. And after more than forty years of watching it, I have a personal story to tell about it. In the coming days I will comment about its production, reception, and positive effect on my life.

As you might have noticed, I never get tired of watching--or talking about--this movie.

 

[Brent Reid]

Thanks for the many great posts, Alan – I look forward to hearing the fruits of your labour of love! Several good specialised hosting sites have come and gone over the years, but the current main one I know of is Zarban’s House of Commentaries. I'd suggest cross-posting on YouTube for maximum exposure. As for advertising, I'd be happy to share it on my social media and I'm sure others here would too.

You mentioned your website; can we have a link please?

 

[Carabimero]

Thanks for the many great posts, Alan – I look forward to hearing the fruits of your labour of love! Several good specialised hosting sites have come and gone over the years, but the current main one I know of is Zarban’s House of Commentaries. I'd suggest cross-posting on YouTube for maximum exposure. As for advertising, I'd be happy to share it on my social media and I'm sure others here would too.

You mentioned your website; can we have a link please?

Thanks for your kind post, the link, and your offer of help. It's appreciated. I could be a year on this, if not longer, and it's nice to know there's some support out there.

Since you asked, here's the link to my personal website.

http://www.davidalanhall.com/

 

[Carabimero]

I heard back from the film historian I'd asked to partner with me on the audio commentary. They will be delighted to join me--for money. But I'll be damned if I am going to pay someone to do a commentary for this movie. That, frankly, was the studio's responsibility. I might understand having no commentary for the DVD release. But for the 70th anniversary Blu-ray?

Everything is a trade off, but I think there are advantages to doing it by myself.

 

[JSLasher]

Regarding the score which I liked very much, apparently William Wyler hated it according to IMDB

“Director William Wyler despised Hugo Friedhofer's Oscar-winning score for this film.”

Is this true?

Yes he did. As Wyler was very hard-of-hearing and, possibly, tone-deaf as a result of his hearing loss, certain tonalities [keys with plenty of sharps, such as C#-major] were painful to him. After Friedhofer received the Oscar® did Wyler change his 'tune', so to speak.

 

[JSLasher]

I might also add that Wyler was antagonistic towards the music in most of his films: I cite 1) "The Heiress" [he agitated against Aaron Copland's superb Main Title, which resulted in a song by Martini being substituted in the middle-section; 2) "The Big Country" [attempting to get Franz Waxman (who refused) to re-write some of the cues; 3) demanding (Wyler lost) that Miklos Rozsa use 'twinkle, twinkle little star' in lieu of his original music for the Nativity scene in "Ben-Hur".

 

[Carabimero]

Post 2 of 50

I want to talk about the visual subtext in this movie, about things going on under the surface.

Much has been made by Spielberg and others about deep focus in the Chopsticks scene later at Butch’s, and we’ll get to that, but right out of the gate, in the first shot of the movie (above), we get deep focus. It takes so much light to do this correctly. Toland pulls it off. My personal opinion about its effect here--showing everyone in focus--is to create a sense of alienation for Fred. I didn’t get this feeling until after seeing the movie several times; however, in my opinion, the almost undeniable pattern to create its effect starts in this first shot.

I would never claim to put myself in the same category as someone who risked their life for their country, but if Toland’s hope was to begin here and then throughout the movie create an relentless visual pattern of alienation with deep focus, to show civilians almost always outnumbering Fred, I can relate. I grew up somewhat alienated. I had two friends from the Easter Seals and we shared a tight bond, so in that way, I can relate to the bond between Fred, Al and Homer. They'd been through experiences that civilians simply couldn't comprehend. As to Fred’s alienation, everyone around him in this shot has no idea of his field of experience or what life was/is like for him. Deep focus helps to give me a sense of Fred’s isolation even in a crowded public place.

Nothing in producer Wyler’s or screenwriter Sherwood’s work (that I have seen) suggests either bought into the claim that those who merit it can, in the U.S., move up in class. Fred comes home from putting his life on the line to save the country. He is carrying minimal baggage, yet he is treated like a second-class citizen. His status is further evidenced by the man (above, screen left) who has 16 pounds excess baggage but is happy to solve his problem with money. It tells me right out of the gate what kind of country this story takes place in. The economy of narrative in the first couple of shots astounds me. Already the minor theme of alienation, and one of two big themes--the confinement of social class in a capitalist system--has been introduced.

Incidentally, it strikes me that if the faceless counter attendant here hadn’t bothered--as an afterthought--to tell Fred where the ATC was, it’s highly likely he never meets Al or Homer.

 

[Carabimero]

I finished breaking the shooting script of Best Years (as detailed in post #58). Today I concluded my analysis of the boards. I can’t begin to express everything I have discovered about this movie—some of which I am virtually certain very few people—if any—have ever known. It’s exciting. I’m saving the good stuff for my audio commentary, but I want to share a morsel here to show how enlightening (and fun) this process can be. Rigor hath its rewards.

Part of breaking a script is denoting every actor, location, prop, and wardrobe piece in each scene, and assigning all characters and items a permanent number. Then, for each scene in which they appear, to write that number in ascending order on a colored strip of cardboard (old-school style) that represents the scene (the color indicating interior or exterior, day or night).

For example, I assigned the number 6 to the lemonade glasses that first appear in the scene in which Homer purposefully spills his drink. Later, similar glasses reappear in another scene, so I wrote 6 on that scene’s strip, as well. When I finished breaking the entire script, and put all the strips together, I noticed those twin 6s rearing their heads (see above photo). So I examined the context of when lemonade glasses appear. Only by breaking the script was the connection between them shoved in my face. Understanding it created another layer of symbology that’s working in this movie in a way I had never noticed.

In the first scene that lemonade glasses appear (in the above photo), we don’t yet realize Homer maneuvered his hooks in a way as to purposefully drop his glass and spill the lemonade. Why did he do it? In my opinion, it deals with the sub-theme of acceptance. While it’s clear to me that Homer has accepted his disability for himself, the dropped lemonade glass suggests he has yet to believe that others can accept him with his disability (or, at the very least, he’s testing his theory to see their reactions).

I’m somewhat of an expert on the topic of acceptance of a disability on both levels, which makes me confident I am not pulling this stuff about what a glass means out of my ass. Before I could be happy, I had to accept my cerebral palsy and hydrocephalus. That was tough enough. Yet before I could be happy around others, I had to realize that they could accept me with all my disabilities and not 1) ridicule me; or 2) feel sorry for me (or both). It’s one of the great lessons, frankly, that this movie, and specifically Homer’s character, helped teach me when I was growing up. It’s a fundamental way this film helped change my life for the better.

My point: if a drinking glass represents Homer’s inability to embrace the idea that others (not previously in the service) could accept him, then what does the reappearance of the lemonade glass mean later in the movie? The meaning is shaped, in my view, by the context in which his drinking glass reappears (otherwise it's just a glass). It’s a pivotal scene for Homer’s arc. Wilma comes over to tell him that her parents want her to go away, basically because Homer doesn’t believe she can accept him the way he is now. My whole life, those glasses have been sitting right there on the counter in front of my face (see above photo). It’s so subtle I don’t think I ever would've noticed if not for breaking the script. It’s a brilliant bit of visual storytelling. It's not only symmetrical, it bolsters the architecture of one of the major themes I see working in this movie: healing through love and respect. This time, Homer doesn't "drop" the glass, so to speak, but has the courage to invite Wilma up to his bedroom, not to seduce her, but to show her the reality of what happens when he gets ready for bed.

I haven’t broken a script I didn't write in nearly thirty years. I’d forgotten how much I enjoy it. Breaking the script for my all-time favorite movie—simply for the pleasure and discovery in the process—has been one of the most stimulating things I have done in a good while. I can’t wait to share my new insight into Best Years when I get all this information synthesized.

 

[Carabimero]

 

[Matt Hough]

I LOVE pictures like this showing us the Broadway of old. Thanks for sharing it!