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Since You Went Away (1944) : Brief Review -

War heroes left homes with flags of patriotism, but they didn't know they were leaving their families uncovered. Know their story here. The 1940s decade gave us the best World War films; let's not argue about that. There have been films about the battlefield, horrors of war, spy dramas, inspiring musicals, comedies, family dramas, and even the post-war situation. Buck Privates (1941), Mrs. Miniver (1942), The Best of Our Lives (1946), Germany Year Zero (1948), and The Search (1948) can be named as a few. While almost every angle of the world war has been attempted, Cromwell had an idea to take up the story of a family-the women who are left behind by men to complete their patriotic duties towards the country. Well, it was hard, as we all know, but having a sneak peek into their daily lives was no ordinary job. John Cromwell does that here. Yes, it's a long film of almost 3 hours, with 10 minutes wasted in the overture and all, but it will never make you feel bored. It has various interesting scenes and events lined up one after another to keep you hooked on the film. The film is about a housewife who has to take care of her two daughters and the home as her husband is away fighting the war for the country. Let me tell you, the film doesn't show the face of her husband once. Not even once. Maybe that's the most unique part about it. The writer and the director wanted that character to be the one from every family; hence, they didn't give him a face. If they had, it would have become a personal family drama, not a film about society. Yes, Claudette Colbert has done "Cleopatra," "Imitation of Life," and "It Happened One Night," but this was her best on-screen performance. Period. The rest of the cast is good too. The screenplay, cinematography, editing, emotions, social appeal, and direction all go well. All said and done, this WW II flick will never go away from our memories.

RATING - 7.5/10*

By - #samthebestest.

Saw it last evening on TCM. Excellent performances by a stellar cast, filmed at a time when Hollywood and American movie audiences were fully experiencing World War 2 on the "home-front". This film has somehow managed to avoid becoming "dated" and remains entertaining, appealing and instructive to a contemporary audience. The story is primarily about a middle class family and its attempts to deal with problems caused by the war. The characters are decent people confronted by issues that test their faith and ability to carry on with life in a normal way. I particularly enjoyed the performances of Claudette Colbert and Monty Woolley, although the entire cast did excellent jobs. The music was appealing and appropriate and helped create the mood intended. TCM played the opening "Overture" which added to the production quality. Three hours is a long sitting but this one is worth it.

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.

As I watched this recently on Turner Movie Classics, a number of trivial points ran through my mind. David O. Selznick certainly had a knack for making clear statements and making sure that everything in his productions (at least up to this time) was easily understood by viewers of all levels.

As his cinematographer, Lee Garmes, was noted for his tendency toward dark images, I was constantly aware of the many shadows in his shots. For his actors to move from one position to another they walk through at least one area of total darkness. There are many shadows on their faces, many profiles, and sharp light and dark contrasts in the background. While Selznick reportedly didn't appreciate Garmes' signature style for GWTW, David certainly tolerated it here, and this dark ambiance gave "Since You Went Away" a quality of depth and substance it might not otherwise have had.

David's effort to get the "perfect" cast paid off. With Colbert anchoring the enactment with a great performance, the film was also blessed with excellent work from Cotten, Jones, Temple, Wooley, McDaniel, Moorhead, et al.

It looks like Colbert's preference for being photographed from the left side is valid. On my system, motion can be stopped and slowly forwarded, observing her from the right side when she turns. In real time one only glimpses; in slow motion one can see her point.

Max Steiner's themes are quite haunting (one of his main ones reveals generic influences of the "Liebestod" from Tristan und Isolde--another the basis for a later Christmas song) and his careful underscoring of every action works well here. TMC Channel's inclusion of the complete Overture and Entr'acte enhances the presentation's effectiveness. It's a joy to see material once cut from so many "classics" now sensitively restored.

Knowing what the Walkers were going through in real life (marital separation) during this filming does indeed make me further appreciate the fine quality of their work. Though Jennifer reportedly often left the set in tears, not a hint of that shows. That indeed is strong acting.

The volume of sad and tragic events depicted in this film now seems, by the end, a wee bit much. Still, this "tear jerker supreme" continues to be enjoyed by many viewers, and "Since You Went Away," remains a nostalgic enactment of an emotional period in American history.

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.