World War II raged for half the decade, and recovery from the horrors of the conflict occupied the second half. The best films of the decade reflected the uncertainty, anxiety, relief, and hope that accompanied the historical record.
Arsenic and Old Lace (1944)
Frank Capra’s adaptation of the popular stage play is a masterpiece of dark comedy, brilliantly acted by the strong cast, with Josephine Hull, Jean Adair, and John Alexander reprising their stage roles. Cary Grant is perfect as long-time bachelor Mortimer Brewster, his new marriage complicated by his sudden discovery of sinister goings-on at his childhood home. Boris Karloff had intended on reprising his own stage role as the creepy Jonathan Brewster. Due to scheduling conflicts, Canadian character actor Raymond Massey filled in for Karloff instead, and Capra retained a very funny Karloff in-joke that comes up throughout the film. The movie is an example of the successful trend of adapting stage plays, which continued in the decades to come with such films as Death of a Salesman and The Producers.
The Bicycle Thief (1948)
As Italy lay in ruins after the end of World War II, with the destruction or damage of the major studio infrastructure, aspiring filmmakers had no choice but to take to the streets with minimalist gear to capture their visions, usually inspired by the hardships of the common folk. This was the birth of Cinema Verité, capturing images in a raw, natural state, removed from the perfect lighting and scenery of Hollywood, in this case brilliantly amplifying the inherent humanist themes of the film. Director Vittorio De Sica’s greatest triumph, The Bicycle Thief tells the story of a common man whose entire livelihood depends on his bicycle, trying valiantly to cope after it is suddenly stolen. Using non-actors and post-war Rome as a backdrop, De Sica captures a compelling though tragic portrayal of perseverance in the face of adversity, and ushered in a new style for delivery of narrative.
Casablanca (1942)
Following America’s entry into World War II, audiences were transfixed by daring tales of intrigue where brave Americans would fight the good fight against the Axis powers. Casablanca had it all: a nihilistic night club owner, shady foreign gangsters, conspiring Nazis, and a compelling love triangle. Casablanca has become a classic due to the smart writing and brilliant performances of its cast; Humphrey Bogart and Ingrid Bergman are joined by the excellent Claude Rains, Conrad Veidt (of The Cabinet of Dr. Caligari), and the great duo of Sydney Greenstreet and Peter Lorre. Michael Curtiz deftly plays upon the audience’s desire for Good to triumph over Evil and for Love to conquer all, without being afraid to mix it up with the unexpected: the unconventional (at the time) ending of Casablanca is often cited as the best of any movie, showing that opting against cliché can yield fantastic results. While not explicitly a war film, Casablanca appeals to the patriotic sensibilities of its audiences to great effect.
The Grapes of Wrath (1940)
John Steinbeck’s controversial book was adapted for the screen by applying the novel’s “grass roots” sensibility to the context of a war-torn world. Critics debate the appeal of the film: some contend that showing a period that was far worse for average Americans than wartime appealed to the audiences of the 1940s; others contend that Tom Joad (played by the amazing Henry Fonda) and his message of hope delivered at the end of the film inspired audiences that perseverance allowed triumph over adversity. No doubt, The Grapes of Wrath touched a nerve in America. The film’s ending was altered to mute the depressing finale of the novel, and was even criticized as pseudo-Communist propaganda. Ultimately, director John Ford crafts another brilliant piece of Americana that has withstood the test of time.
Lifeboat (1944)
Alfred Hitchcock’s films have always been innovative, and this film tells its story in an unusual way: by setting the principle action within one location (inspiring future films such as 12 Angry Men), the titular lifeboat. Torpedoed by a German submarine, the survivors must fight thirst, starvation, and prejudice (compounded by the presence of a German of whom the others are distrustful). The film was hugely popular, and while it was initially dismissed as mere wartime propaganda, the intelligent portrayal of Germans in the film caused outrage for many, which perhaps underlined the very themes presented by Hitchcock. In a brilliant cameo, Hitchcock is seen in a before-and-after photo on a newspaper being read by a survivor.
By the 1940s, social commentary had become the norm, and characters and plots became more and more complex and layered with meaning. With the end of World War II, the new hope and prosperity that filled North America and Europe would inspire new narratives and styles in the ensuing years.
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