4 WWII Home Front Movies

World War II gave rise to a whole cottage industry of war films during the conflict and for generations to come. There are, of course, so many facets of the war to explore whether it’s Europe, The Pacific, North Africa, and any number of elements.

However, something that always fascinated me was life on the Home Front. Now wars feel like proxies. They rarely affect us first-hand. During the 1940s the war was a concerted effort on all fronts. It affected not only soldiers but civilians living miles away.

Mrs. Miniver (1942) chronicles the exploits of a fearless mother who holds her family together during The Blitz and the threat of German invasion. More The Merrier (1943) takes a comical look at the housing crisis that plagued Washington D.C. and other metropolis areas. Even the likes of Stage Door Canteen (1943) and Thank Our Lucky Stars (1943) give a picture into the USO and entertainment efforts put on for soldiers.

Here is a list of four other films from the World War II years that function as time capsules giving us some element of what life was like during those impactful years in history.

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Hail The Conquering Hero (1944)

Certainly, The Miracle of Morgan’s Creek is another uproarious wartime comedy from Preston Sturges. But this other offering is equally memorable in how it takes on small-town jingoism and hero worship to outrageous proportions. Whereas most old war pictures look moth-bitten with age and overly saccharine, somehow this effort strikes a phenomenal balance between absurd satire and lucid sentimentality.

It’s not making fun of our war heroes as much as it lampoons how we try to exalt them in our own well-meaning blundering. There’s no doubt some of this was certainly acknowledged during the war although I’m not sure how the general public would have felt about the movie in that context. Now it looks prescient. Eddie Bracken, William Demarest, and company are absolutely hilarious

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Hollywood Canteen (1944)

Actors Bette Davis and John Garfield of Warner Bros. famously set up the Hollywood Canteen as a haven for soldiers on leave. The perks were free and included dances with the most beautiful starlets and entertainment provided by the brightest comedic and musical personalities of the day. You could even win a raffle to kiss Hedy Lamarr.

Although the film is slight, sentimental propaganda, it does give at least a hint of what this group endeavor was all about. For old movie aficionados, it also provides a convenient opportunity to see just about every person Warner Bros. had on the lot in 1944. They all come out to the party to pitch in on the morale-boosting effort.

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The Clock (1945)

Whirlwind romances feel almost commonplace in the war years. Imagine the scenario. You’re longtime beau or the eligible man or woman you just met is going off to war. Miles will separate you. All you have are letters. There’s an uncertainty of whether or not you will ever see them again. The only thing that does seem permanent (even if it’s not) is love.

The theme would crop up in any number of pictures from The Very Thought of You to I’ll Be Seeing You as the situation undoubtedly resonated with a contemporary audience. However, another favorite is The Clock, starring Judy Garland and Robert Walker. It encapsulates the moment in time so well with heightened emotions, an unceremonious courthouse wedding, and the open-ending. We don’t know what the future holds.

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The Best Years of Our Lives (1946)

If Since You Went Away was David Selznick’s WWII epic, this was certainly Samuel Goldwyn’s entry. Its title plays with this ironic ambiguity. The best years of our lives would seem to be ahead of us. The war is over. The Allies have won. The soldiers return home victorious. And yet even in their victory, there is so much to navigate in the civilian world.

Wyler’s effort is such a perceptive picture in how it makes us feel the growing pains and relational tribulations of an entire community. It might be the fact you barely know your wife because you’ve been away for the majority of your marriage. Maybe your kids have grown up in a different world and there’s a corporate job waiting for you to reacclimate to. It might be PTSD or tangible physical injuries totally changing your day-to-day existence. As such the movie is indicative of a certain time and place and a tipping point in American society.

What is your favorite WWII film, whether it depicts the war or some aspect of the home front?

Hail The Conquering Hero (1944)

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I have long sought out this picture and all I can say is all hail the conquering hero! It’s everything that could have been hoped for in a Preston Sturges wartime comedy. But in order for the laughs to come along with a great deal more, there must be a setup — a watering hole for our main players to familiarize themselves.

Sure enough, we are introduced to a fairly somber nightclub scene or maybe it’s simply the face of the one man the camera chooses to focus on, sitting dejectedly at the bar. There slumps Eddie Bracken, slightly pudgy and round-faced. By no means classically handsome but he and Preston Sturges had quite a thing going for a couple years.

He got sent home from the Marines for chronic hayfever. I’m extremely empathetic to his condition as I’m sure innumerable others are as well. Anyway, he’s too embarrassed to go home and it’s been a year now and he’s still not returned. However, he has nothing except the highest regard for the Marines as his father gave his life serving his country. In fact, it was the very day our boy was born.

He pays it forward to a group of Marines on leave with no dough, thanks to the gambling habits of one of their pack. The act of charity isn’t lost on them and they get acquainted. Soon they find out the name of their benefactor. It has the be the most patriotic names ever invented: Woodrow Lafayette Pershing Truesmith (sans the Truesmith).

Soon they are regaled with his story and stunned by his encyclopedic knowledge of the exploits of the Marines out on the battlefields. Their leader Sergeant (William Demarest) even finds out they have a lot more in common as he knew the elder Truesmith — Winky Dinky for short — before he perished.

The only place for the film to go from here is back to Woodrow’s roots and so without his consent, his mother gets called up and it’s announced that he’s getting sent home. Woodrow’s against it from the beginning but his new pals say there’s nothing to it. He’ll wear a uniform for a day, give his mother a hug, and take off the uniform soon after, completely forgotten. Of course, as they ride the train into town, they have no idea what’s been stirred up in preparation.

A homecoming like you’ve never witnessed has been hurriedly assembled by the local committee chairman (the frantically hilarious Franklin Pangborn) and it’s the true essence of cacophony with unrehearsed dueling brass bands; the mayor and any number of folks milling about in expectant anticipation. The show is just beginning to warm up now.

What many will find astounding is just how perfectly Hail the Conquering Hero has been constructed by Sturges, at least in the way it skirts its topics with simultaneous delicacy and verve. Here is a film striking an impeccable course between that very same comedy and then admiration for the armed forces because no one can forget WWII was still blasting away across the world.

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Likewise, the church service far from belittling the faith is a lingering visual gag as we watch the dueling reactions of the two sides of the pews. First through the hymns and then a very sincere homily from the preacher culminating in yet another rousing display of goodwill. By now Woodrow has little hope to derail any of the fanfare with the erection of a commemorative statue christened “Like Father, Like Son” soon in the works. All his newfound Marine buddies are good for is stoking the fires and applauding the sentiment.

The next great sequence is cued by the music and Mother answers the door and mentions that the Judge (Jimmy Conlin) and some other civic leaders want to see Woodrow. Immediately his mind leaps to the worst possible scenario. The game must be up and all his Marine buddies inconspicuously grab household items in case of a tustle that might take place in the drawing room. Of course, their intentions are nothing of the sort. Far from it. The lead up makes the outcome into yet another outrageous reveal.

Just around this juncture, it becomes increasingly apparent that all the characters appear to move in packs and Sturges crams the frame gladly with bodies and faces and more appendages. Woodrow does his best to avoid the spotlight, flubbing his speech to the masses, and trying to downplay the bid for mayor thrust upon him only to be thwarted at every turn by a cheering crowd of well-wishers. One man even proclaims his was the greatest speech since William Jennings Bryan’s “Crown of Thorns!” Already we have the swellest giggle-fit inducer I’ve encountered in some time.

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I wracked my brain only to realize I’d never seen Ella Raines in a comedy before and for much of this picture she’s in the periphery, her comely smiling features on the screen with a whole host of others. But there are a few moments that, far from playing merely humorously, prove deeply moving as she is split between the man she is betrothed to marry and the one she truly loves.

The family she’s caught up in includes a quibbling father and son. The incumbent mayor (Raymond Walburn), who ponificates incessantly, attempts to dictate his speech in his latest bid for reelection only to get annoyed by his dim-witted boy (Bill Edwards) who nevertheless corrects his grammatical blunders. She’d do well to get out of there. Nevertheless, they are a bounty for humorous dialogue.

The stakes are set for a reversal of fortune with a number of parties having a chance to oust our hero. One man who’s buddy-buddy with the Mayor, the cool and collected Jake (Al Bridge) is mighty curious about Woodrow’s service record and he sends a wire to the Marine Base in San Diego. He gets the incriminating news shortly.

But ultimately it comes down to Woodrow himself and Sturges puts the perfect words in his mouth that Eddie Bracken then utters with an assured conviction. Riffing off the Biblical epithet he notes, “My cup runneth over with gall” and proceeds to pour out with veracious intent all the lies and masquerades he’s been too scared to admit to his own town. His guts are laid out right in front of him. Yes, his mother cries. The townspeople look on somberly and his Marine buddies can do nothing to dispel any of it. Even the words of the Mayor and his pal mean nothing now.

With such a showing you would think it was all over for Woodrow and he tells his mama that he’s going to leave again. He cannot stay. Not like this at least. But his girl comes back to him because she at least loves him unconditionally.

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At the train station the parlor games look like they might commence again but this time the whole town is involved, a lynching all but imminent. The Marines this time wrap up their belts inconspicuously to prepare for combat once more. Of course, the mob is there for a very different reason altogether.

The film has the foresight to see what so many of its contemporary war movies were, only made plainly obvious with the luxury hindsight: Light-hearted and good-intentioned yet still mawkish propaganda pieces. So Sturges took up his pen and tackled such hero worship and smalltime jingoism and yet settles on a resolution proving to be as venerating as it is satisfying.

Hail The Conquering Hero is a miracle assemblage of poignancy and humor; I don’t know how it comes away still intact and with my heartfelt laughter and deepest respect no less. It’s not an easy road to traverse by any means. Only a few have managed it. Chaplain in The Great Dictator (1940) distinctly comes to mind and Preston Sturges here.

4.5/5 Stars

Miracle of Morgan’s Creek (1944)

220px-The_Miracle_of_Morgans_Creek_1944_posterPreston Sturges was a revelation when I first saw Sullivan’s Travels and then The Lady Eve. His scripts are always wildly hilarious and full of memorable characters, whether they are headliners or just supporting the stars. The Miracle of Morgan’s Creek (1944) was a lesser known film to me, starring Eddie Bracken and Betty Hutton, but I was ready to see what this screwball could deliver.

With the start of the war, there began a push on the home front to strengthen morale by throwing parties and drinking victory lemonade in honor of the boys going overseas. Young Trudy is intent on dancing the night away with a lot of soldier boys. She just wants to do her part in the war effort after all. Her grumpy and domineering daddy Mr. Kocklenlocker (William Demarest) forbade her from taking part in such a shindig.

She sullenly goes to the movies with Norval Jones (Eddie Bracken), the young man who has been infatuated with her since they were kids. However, she somehow talks Norval into letting her go off to a party, and she spends the night living it up, while he waits dejectedly at the theater. When she finally returns its late morning of the next day and Norval knows her father will kill him.

However, Trudy also discovers a ring on her finger signifying that she married a soldier in her wild stupor the night before. The only problem is she cannot remember who it was, there were so many soldiers that she danced with after all. On top of that, add the prospect of a baby and you have a real doozy that has small-town scandal written all over it.

Norval tries his best to help remedy things for Trudy, only to wind up in jail with a big to-do building up — even making its way to the governor! Things don’t look good for poor Norval until Trudy gives birth and it’s a MIRACLE! When he finds out about what happens he has a little fainting spell.

That’s the craziness that is the Miracle of Morgan’s Creek, thanks to the rapid-fire dialogue and caricatures created by Preston Sturges. William Demarest is especially memorable as the hard apple Mr. Kocklenlocker who is always bossing his daughters around, but he’s not all bad. By now Morgan’s Creek looks dated, but all the same, it is still a memorable piece of WWII homefront cinema. Supposedly it was standing room only back in the day and honestly, it’s surprising that this film ever got past the censors. Bigamy, pregnancy, and so much more all comically mentioned in a 1940s film. Who would have thought?

4/5 Stars