The Picture Show Annual (1949)

Record Details:

Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

John Hodiak, Fortunio Bonanova and Gene Tierney in " A Bell for Adano." Greer Garson and Charles Coburn and Jean Ronald Colntan in Arthur in "The More the " Random Harvest." Merrier." difficulties are adding to those old hatreds and suspicions. For if one thing is more certain than anything else, it is that no matter who wins a war, victors and vanquished alike suffer for it. During the past ten years, the way ot hte ol millions has been changed. MilUons are striving desperately to regain the old way of life; milUons more are striving for a new way of life ; and millions are striving to adjust them- selves to to-day’s social ferment that is war’s aftermath. Poverty, famine, distress and restlessness loom over the entire world ; old values are replaced by new ; tradition flung overboard. If we choose our films, w'e can get a very fair picture of the world that we knew—and know now’. The last few years have been full of tragedy and drama, and one of the most poignant, dramatic and humorous situations is that of the soldier returning to a familiar yet terrifyingly strange world—not only the greater w'orld, but his own little personal world. The Best Years of Our Lives is one of the finest examples of this type of film. Here we have the stories of three men, flung together in the last minutes of their war service—an Army Margaret Air Force captain, with two rows of ribbons Lockwood and and a lifetime’s experience of death and de- Michael Wild- struction crammed into four years ; a sergeant ing in " Dear who is returning to his secure, safe life as a Octopus." banker ; a young sailor who wears two hooks in place of his hands, which have been shot away. Iheir problems are different, although funda- mentally they are variations on the same theme, their adjustment to p>eace and civilian life. They are strangers in their own homes—the captain goes home to the slums he has grown out of, to try to make a success of a hasty wartime marriage to a mercenary blonde; the sailor faces the problem of deciding whether the girl he left behind him now feels pity instead of love for him, and if it is love, whether he is right in expecting her to go through life tied to a cripple ; and the banker goes back to two children who have grown up while he has been away, and is sustained by his loyal and loving wife as he tries to reconcile banking with the humanitarian understanding of the men who come to him for loans, unable to offer as security anything but their own will to work, their skill, hands and brains—the things they had offered to their country to defend what they now want to build—their children’s future. The airman, determined