Desde Que Partiste

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.

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.

Subtle and nuanced in most places, a bit obvious in others, Since you went away may be the best war movie ever made that doesn't have a war scene. It follows the life of a family in the early days of America's entry into World War II. The coming of age thrust upon young men and women is splendidly captured, but central is the silent pain and worry of those who with loved ones in harm's way. Watch for the scene when Mr. Mahoney leaves the movie theater. There is no dialog, and there need not be.

This movie is often shown near the Holidays because of a great Christmas scene,it's general warmth, and its theme of Country, God, and Family.

One of Jennifer Jones' best performances, with strong work by Claudette Colbert, Shirly Temple, Joseph Cotten, Robert Walker, Hattie McDaniel and Monty Woolley. Agnes Moorehead foreshadows her role years later in the series 'Bewtiched', playing the town 'witch'.

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.