Approved | | Drama, Romance, War
Three World War II veterans return home to small-town America to discover that they and their families have been irreparably changed.
In the sequence where Homer discloses his stumps to Wilma, Robert Warshaw* attributes that sexual charge to "feminization [following that] he .. has lost his hands - and with them, his power to be sexually aggressive .. every night, his wife will have to put him to bed, and then it will be her hands that must be used in making love. Beneath the pathos of the scene .. feels a current of excitement, in which the sailor's misfortune becomes a kind of wish-fulfillment, as one might actually dream it. He must be passive .. therefore he can be .. without guilt. [and that overall] The asexual relations of the characters form an unusually clear projection of the familiar Hollywood (and American) dream of male passivity. The men are inept, nervous, inarticulate and childishly wilful." [*from 'Anatomy of a Falsehood'; '62.]
I didn't see much of the war... I was stationed in a repair shop below decks. Oh, I was in plenty of battles, but I never saw a Jap or heard a shell coming at me. When we were sunk, all I know is there was a lot of fire and explosions. And I was ...
There are many scenes in the movie where Al's bangs change as the camera angle changes.
The character played by Ray Teal (the Axis sympathizer whom Homer Parrish attacks at the soda fountain) is listed in the credits as "Mr. Mollett". However, the character's name is never mentioned or otherwise alluded to.
The film was modified to play on a wide screen and reissued on February 3, 1954.