The Best Years of Our Lives (1946)

It attains a sound, solid, real impression of life that is unusually human, appealing and frequently diverting; the presence of Harold Russell as the ex-paratrooper who lost both hands endows it with factual power and is the most moving and central development.

The postwar drama from Wyler and Goldwyn mirrors the readjustment struggles of returning WWII veterans through three interconnected stories, using deep-focus photography to explore complex relationships. Audiences of the era found it cathartic and true, with standout moments like Russell’s painful monologue and Andrews’ reverie in a junked fighter jet making it as poignant now as ever.

The film is a superior, thrilling exception that catches the drama of veterans returning home from war as no other film has, reflecting delicate tensions, deep anxieties and gnawing despairs with heart, understanding and tremendous talent.

It is one of the best pictures of our lives; the realism is graphic, the story compelling, the romantic frailties and human little problems typical of the headlines, with inspired casting and all performances equally good.

The review highlights the film's focus on three veterans readjusting to civilian life after WWII, using long deep-focus takes for realism and emotional involvement. It describes the work as an audacious, intelligent achievement that influenced cinema worldwide.

The critic praises the film's portrayal of returning WWII veterans' struggles with readjustment, PTSD, disability, and the burdens of patriotism through its three central characters. It singles out Gregg Toland’s deep-focus cinematography and Harold Russell’s non-professional performance for particular note.

This tender and occasionally tough look at the plight of returning war veterans is one of Wyler’s best films, with a thorough script, splendid performances (including Russell as an amateur amputee actor), and masterful deep-focus camerawork by Gregg Toland. It may be overlong and not quite the masterpiece it aims to be, but it remains a model of fine Hollywood craftsmanship.

The picture remains heavy and sodden despite everyone's efforts and good dialogue; Goldwyn had every right to expect something better after spending three million dollars and hiring Robert E. Sherwood.

The film is a groundbreaking post-war drama about three veterans struggling to readjust to civilian life in a small town, dealing with issues like PTSD, prejudice, and family strain. The critic singles out Harold Russell’s naturalistic, heartbreaking performance as the standout element alongside Wyler’s deft direction and technical skill.