THE BEST YEARS OF OUR LIVES (Wyler, 1946): Deep focus realism

William Wyler's THE BEST YEARS OF OUR LIVES is rightfully hailed as the mother of all home-coming films. Together with his cinematographer Gregg Toland (CITIZEN KANE, GRAPES OF WRATH) Wyler staged his large cast in elaborate compositions that neither feel cramped (in 1946, there was no other choice than the old 1.37:1 Academy aspect ratio) nor unnatural which is also due to flatter lighting than is usually associated with Toland's films. Within these long deep focus shots, the viewers attention is led to many different spots as the action is progressing.

William Wylers THE BEST YEARS OF OUR LIVES wird zurecht als Mutter aller Kriegsrückkehrer-Filme bezeichnet. Zusammen mit dem Ausnahmekameramann Gregg Toland inszenierte Wyler seine grosse Besetzung in kunstvollen Kompositionen, die weder eng (damals gab es nur das Academy Format 1.37:1) noch unnatürlich wirken. Dies gelingt auch dank der Lichtsetzung, die deutlich konstrastärmer ist, als man dies mit Tolands Arbeit heute assoziiert. Innerhalb dieser langen Deep Focus Einstellungen wird der Blick des Zuschauers im Zuge der Handlung nacheinander an verschiedene Orte im Bild gelenkt.

[RV]

One of the most impressive deep focus compositions and probably my second favorite scene: note the man on the phone in the back - that is where the important action is happening! (screenshot lifted from http://tcf.ua.edu/)