I Want You

Samuel Goldwyn produced, and Mark Robson directed. The stars of the film Dana Andrews, Dorothy McGuire and Farley Granger. Alongside them Peggy Dow, Midred Dunnuck ( excellent in her role ) and another excellent performance from Martin Milner as a teenager too young to drink beer, but old enough to go off and fight in the Korean War. Some people did not go to war because they were indispensable but Milner was not, and his elderly father is left to grieve his loss. One could say these peripheral people in this film are outside of the core family that the main stars are in ( except for Dunnock who has some of the best dialogue, ) but in my opinion they are at the heart of the matter. Dorothy McGuire wants men to go to war, but changes her mind when her husband played by Dana Andrews enlists. No more spoilers. I found the film saddening, well acted and I was surprised that an almost forgotten film in a poor copy could affect me so much, and leave me with so many questions I had to ask myself. Robson directs reasonably well, and only Farley Granger in uniform as Dana Andrews brother did not quite convince. In Luchino Visconti's ' Senso ' he was again in uniform, and gave of his best and proved in my opinion to be a fine actor. If viewers can find this film it is well worth seeing.

While THE BEST YEARS OF OUR LIVES dealt with the readjustment of three servicemen returning from the horrors of WWII, I WANT YOU is a more sentimental look at the home front following the return of those men to peacetime U.S.A. Peacetime, yes, until the draft meant the calling up of enlisted men again because of The Korean War, a war largely forgotten by today's generation.

The script in no way compares to that of BEST YEARS, but there are decent performances that hold the story on track. DANA ANDREWS and DOROTHY McGUIRE are the most impressive, with some good acting by FARLEY GRANGER and MILDRED DUNNOCK helping to keep the story afloat. But somehow, one never gets the feeling of urgency or involvement that is felt during the Oscar-winning Goldwyn film that preceded it.

A distinct weakness of the film is PEGGY DOW as Granger's sweetheart, a limited actress who lacks the warmth to make her part meaningful enough.

Summing up: Pales by comparison to Goldwyn's other masterpiece, but is competent enough on its own terms to merit watching. And DANA ANDREWS delivers his usual solid performance.

This first-rate film about the effects of the Korean War on an Anytown U.S.A. deserves to be thought of in the same league as movies like 'The Best Years of Our Lives.' But just as history has done with the real wars, this movie seems to have gotten lost in the shadows of the much larger number of World War II dramas.

The Korean War came just five short years after WWII ended, just as many families whose lives were so disrupted by the bigger war were finally able to enjoy some peace and stability in their lives after struggles of readjustment. Lacking the impetus of a Pearl Harbor or the spectre of an Adolph Hitler, the draft was the prime mechanism for getting young men to the front lines in Korea. Older vets were now being asked to leave their homes and families again as well. This film shows surprising depth in its depiction of the problems and feelings of not only the eligible men, but their wives, mothers, fathers and girlfriends. The excellent script was written by Irwin Shaw based on magazine stories by Edward Newhouse and they provide us with an insightful look at this period in American history which doesn't get as much attention as the preceding or following decades.

Clay Blair called his book on the Korean conflict 'The Forgotten War' and this movie might be given a similar appellation, even though it deserves better. Simply as a piece of nostalgia it's enjoyable, but the movie is much more than that. It has a fine cast with many actors that even some of us baby boomers will recognize.

Clearly this movie was meant by Goldwyn to be comparable to Best Years of Our Lives. The difficulties with such an effort are that:

a) this movie looks at the beginning, not the end of a war - at the trepidation, the dislocation and sacrifice -- not the sweet relief of an ordeal over and the prospects for improvement in one's welfare; and

b) like all wars America has been in since W.W.II, Korea was not a "total war" (engrossing and engulfing the lives of all in the country) but instead one in which a peacetime prosperity and security continued for those at home while a relative handful out of the American population bore the entire brunt.

These factors produce a very different movie than Best Years - a movie of families riven by conflict over the disparity of the sacrifice, over whether to seek to avoid that sacrifice, over basic feelings about what is personally owed to the country (rather than self or family), and over the pride or shame in participation in a war.

The movie seethes with conflict and bad blood - often unspoken. The conflicts arise over deeply felt divisions in social class, in gender and in generation, and result in unspoken accusations of callousness and cowardice, vanity and selfishness.

In many respects this is a movie of another time - these days, unless a family has a strong military tradition, I can imagine few families now enraged by a son's expressed wish that a war could be won without his involvement, few families in which an employer would not draft a letter for his decades-long employee's only child to keep him out of war - and even refuse to write a letter (for which his mother pleads) for his own beloved brother's draft deferment.

One sees many views of war and patriotic obligation in this movie: views that deeply clash with one another, views that are expressed with strong emotion and that upset others.

The only comparable scene in Best Years of Our Lives is the darkest - the scene with Dana Andrews and the cynical customer at the soda fountain. Best Years is a far warmer and more optimistic movie (despite the predicament of the protagonists). In Best Years, one always senses that one day, there will be a workable re-adjustment.

In "I Want You", one has no such assurance - and it contributes to making this very realistic, often grim, and altogether fascinating.

Of course, the first thing - and movie - which you think first after watching this one is THE BEST YEARS OF OUR LIVES, produced by the same Samuel Goldwyn company, the analysis, character study of a small town regarding the issues that the Korean war will bring among those people. It prepares us to THE DEER HUNTER and many more films of this kind - including WE WERE SOLDIERS, Vietnam, Irak, Afghanistan wars and so on. This movie, unlike those more recent ones, doesn't evoke too much post war traumatic stress disorders. But Mark Robson, the director of this very one, will give us LIMBO in 1973, telling a story very close to the above titles: Vietnam war wives and widows dealing with a hopeless life and personnal problems. Good film this one, as LIMBO.