Since You Went Away

Watching this film, we couldn't help drawing a parallel between what the Hilton family went through in the early 40s to the actual conflict in Iraq. The film makes clear the hard times on the families left behind. The government, unfortunately, doesn't provide for the people that have to sacrifice a great deal by making do with a reduced income in order to survive, while the men, or women are away in combat.

John Cromwell directs the film with an accurate eye for details. There is a lovely sequence at an airfield hangar where we see couples in silhouette dancing a waltz. It's at that time when war seems so far away from the lives of the family at the center of the story. This is a distraction that is shattered shortly thereafter when Anne Hilton learns about the airplane accident where the young son of her grocer dies. War shows its ugly face no matter how far removed one is from the actual theater of operations, as it is in this case.

David O. Selznick adapted the novel in which the film is based. It runs for almost three hours, and it could have used some cutting, but this movie has proved to be a favorite for many that have discovered it years after it was first released.

Claudette Colbert was an accomplished actress who made this Anne Hilton come alive. Jennifer Jones is a compelling Jane, a girl deprived of a father and confused about what she want from life. Joseph Cotten plays Tony, the man who comes into the lives of the Hilton women. Monty Woolley, Robert Walker, Agnes Moorhead all have excellent moments where they shine.

It was also good to see in minor roles people that would go on to have careers of their own. Guy Madison, Keenan Wynn, Craig Stevens appear in the film shortly, but they leave their mark on it.

This is a film that will not disappoint.

This movie has managed to stay so watchable because the people portrayed in the movie are so real. Strip away some of the obvious 40s references and you get people facing issues that could occur in any era.

Agnes Moorehead's character, Mrs. Emily Hawkins, is alive and well and living in your city. Look at how some of the comments after Sept. 11 reflect the same mean-spirited mindset her character displayed.

More than a mere war story, this is a great character study, one that should be viewed several times, the more you watch it the more you get out of it.

I saw this yesterday on TCM. Yes, it is sentimental, patriotic, and a bit syrupy in the dialog. But it was released in 1944 (filmed right in the middle of the war), so the sentiment and especially the times are aptly reflected. More than anything else, the film's virtues are the performances. Claudette Colbert reminds me very much of Norma Shearer's matriarch in 'The Women:' warm, intelligent, and very likable, but surrounded by the constrictions and circumstances of the time. (It's interesting to hear her tell Joseph Cotten two hours into the film that she feels useless and is not contributing to the war effort when in fact she's been contributing all along.) Cotten is wonderful as her surrogate mate (still carrying a torch after all these years) and daughters Jennifer Jones and Shirley Temple are quite good. The standout scene, of course is Jones and real-life husband Robert Walker parting at the train station. The Steiner score (echoing the chugging of the train) and especially Jones' tearful run as the train departs are especially heartbreaking. (Does she sense her soldier's fate? There's something almost psychic in her face as she reads the engraving on the watch.) Good performances also from Agnes Moorehead and Selznick veteran Hattie McDaniel. Nominated for a ton of Oscars, and deservedly so.

The formula for a successful film incorporates good direction, a deep and talented cast, a sophisticated script, and a profound theme. This film has all of the above. The poignant theme is that of the Homefront's waiting for soldiers to safely return from the various battle zones of World War Two, with full knowledge that some would not return. In this film, released just two weeks after D-Day, the daily lives of the characters are dominated by the pall of war, and the casualty reports. Non-patriotic foils are sprinkled throughout, especially those who regularly violate the rationing system. In essence, the main thrust of the film to the audience is this: Do not despair, everyone with servicemen abroad is experiencing the same fears and emotions. Like "Casablanca" and other films produced during the war, the message of common sacrifice prevails. Everyone is in the same boat, or so says Hollywood. This film is both entertaining and instructive, as intended. If this film has a weakness, it is the title. It would better be something like "what would I do when you're no longer here to tell my troubles to?" No longer here could be for the duration of the war--or for eternity.

I thought this film was nicely naturalistic rather than melodramatic- in that the naivete, sincerity and hopeful nature of people in the context of 1940s smalltown America was honestly portrayed by all of the principle actors. A pleasant counterpoint to "The Best Years of Our Lives"- yes, admittedly much more of a striving to be cheerful/optimistic bit of propaganda than "Best Years", but similar in tone nonetheless. I also recommend this film for the intriguing casting of Robert Walker (best known as psychopath Bruno Antony in Hitchcock's "Strangers on a Train") as Jennifer Jones' somewhat wishy washy yet ultimately tragic boyfriend- the infamous scene where Jones tearfully bids him farewell as his battlefield destined train departs is classic. Genuinely emotional. Not one of the all time best movies I have ever seen, but certainly worth a watch. Probably of interest to Shirley Temple fans, too, as it is one of her 'young adult' roles.