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We'll Always Have the Movies: American Cinema during World War II

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World War II films have always been recognized as quintessential patriotic movies. There are anecdotes of young men going directly from movies such as "Salute to the Marines" and "Fighting Seabees" to military recruiters. But the co-authors take a more analytic look at the broad category of American popular movies during the World War II years. They find that the category was more diverse than generally realized, and that its purposes and effects were more subtle than seen in the inspiring films of military exploits. For example, the movie "Casablanca," for all its film noirish intrigue and memorable performances, "presented [the Germans] not only as bad but also as defeatable." This was undoubtedly an important message for the American public in the early days of the War when the Germans appeared invincible in their conquest of the nations of Europe. Surveying the wide, diversified field of WWII films, the authors with academic backgrounds in literature at Illinois State U. examine how many films went beyond simply evoking patriotism to maintaining support for the War on the "home front" and to forming perspectives and expectations on it and characterizing the enemy. The wartime films dealt with all significant aspects of the War, including portrayals of Russians, British, and other allies. The cycle of the films in relation to the course of the War is a thread of the wide-ranging, multidisciplinary study in a readable style appealing to film-lovers as well as ones interested in popular culture, social history, and cultural studies. Preston Sturges' June 1944 release "Hail the Conquering Hero" coming near the end of the body of wartime films deals with the adjustment of servicemen returning to civilian life.

There have been many books on Hollywood films of the 1939-45 era, but "We'll Always Have the Movies" looks at this familiar subject with fresh eyes. One of they ways the authors do this is to see Hollywood films as trying to present different corners of the world in such a way so Americans could identify with these non-American places. Thus films like "The Moon is Down" and "This Land is Mine," in which Norwegians and Frenchmen deal with being occupied by Nazis, are really to encourage Americans to think about what they would do in such a situation.

A fascinating chapter of the book is to look at films that don't completely conform to the "Hollywood WWII movie" stereotype: films about juvenille deliquency in particular or films by Preston Sturges or Alfred Hitchcock that poke at trouble spots in American culture.

Even if you have read several books on Hollywood at war, "We'll Always Have the Movies" will give you something to think about and make you revisit some old films.

I was disappointed to see that some pertinent films of WWII were left out of this book. Lillian Hellman is mentioned for two lesser known works, but excluded completely are, "Watch on the Rhine"(1943) and "The Little Foxes"(1941)which deal directly/indirectly with fascism. "Hold Back the Dawn" (1941) with Charles Boyer and Olivia DeHavilland, about refugees and their struggles, has been omitted.

There were missed musicals, such as "Babes on Broadway"(1941)with Judy Garland, Mickey Rooney which had entire scene, and original song/subplot devoted to the refugee children from Britain. "For Me and My Gal",(1942) Judy Garland and Gene Kelly, portrays WWI experiences to WWII audience. Also, "Yankee Doodle Dandy" (1942) was in production during Pearl Harbor attack and script was adjusted to promote more support for WWII.

Additional exclusions were the homefront "Hargrove" films with Robert Walker and Donna Reed--"See Here, Private Hargrove"(1943), and "What's Up, Corporal Hargrove"(1944). The "Male Animal" (1941) with Henry Fonda, is set on a college campus, but has politics/extremism focus. "Janie Gets Married" (1946) Joan Leslie, is a light comedy about a new bride helping her husband adjust to post WWII lifestyle.

This book deals with more "serious" films of the era, but the lighter, comical, and musical creations also conveyed ideals, feelings, directly or indirectly re: WWII.