In this film, the women the three men have come home to are not diminished; is it their story, too. Al’s wife Milly, played by Myrna Loy, and his daughter Peggy, played by Teresa Wright, display heartsick fears and frank desires. One of the most memorable scenes in the film is Fred’s nightmare, when a drunken Fred is put to bed by Peggy, a young woman he met only hours before, suffers a nightmare from what today would be called post traumatic stress, and is comforted by Peggy, in her bed, yet there is nothing sensationalized or exploitive about it.
It is a movie whose musical score, composed by Hugo Friedhofer did not produce any catchy pop tunes, but captured each moment of conscience the way a shadow follows a body. The otherworldly sensation of Al’s first waking in his own bed after years of jungle is punctuated by the musical score; the delicate strains of the refrain that opens the film and reprises through every moment of tenderness or tension, a piece of music unnamed but unmistakable, captures the moments and meanings that makes mere lyrics inarticulate. The astonishing burst of brass ripple that begins the airplane engine noise as Fred sits in the nose of a trashed plane, experiencing a wartime flashback, all these musical incidents are by turns touching, and devastating.
More on Best Years tomorrow.