Transcript
Voice over: "War has been portrayed on film since the invention of the moving image. From documentaries captured in the midst of the action, to dramatic reconstructions years later, movies are the closest most people will get to experiencing what a war is, or was, actually like. Filmmaking, and the many cinematic styles that have emerged throughout history, have done so as a direct result of what was going on in the world at the time. And the Second World War caused perhaps the most significant shift in cinematic storytelling of all time. In this video we’ll take a look at two legendary Hollywood directors, both of whom made movies before, during, and after the Second World War, and whose influence is still reflected in films being made to this day.
William Wyler was a Director who rose through the ranks of Hollywood during the 20s and 30s. Starting in silent films, he quickly transitioned to "talkies" and displayed a talent for a range of genres. From romantic comedies to social dramas, historical epics to westerns; Wyler’s ability to master various cinematic genres was unmatched. By the late 1930s, Wyler was a respected and commercially successful director, poised to make his mark on Hollywood history, a path that would be definitively shaped by the outbreak of the Second World War.
Before the United States entered the war, Wyler directed ‘Mrs. Miniver’ (1942). Based on the 1940 novel, it told the story of a middle-class English family adjusting to the war in Europe and the Blitz in London. Although it wouldn’t be released until after the US had entered the war, it was successful in presenting the real suffering being caused by the war to US audiences, and would go on to win 6 Oscars, including Wyler’s first for best Director. But he didn’t stop there. Determined to document the actual events of the war, Wyler volunteered to serve in the US Air Force. Here he directed 2 documentaries; ‘Thunderbolt!’ (1947) which follows a P-47 squadron on a bombing mission in Northern Italy, and ‘The Memphis Belle: A Story of a Flying Fortress’ (1944).
Memphis Belle follows a B-17 of the same name and its crew, and shows us the story of its now famous 25th combat mission. It was edited to portray one single mission within the aircraft, but was actually filmed over many missions on multiple bombers as well. Wyler and his team filmed Memphis Belle at extreme personal risk, joining crews on actual bombing missions flying over enemy territory, to document the real experiences of the bomber crews. One of Wyler’s cinematographers lost his life during the production of the film, when a B-17 he was filming on was shot down. Memphis Belle’s realistic depiction of the war was unheard of at the time, placing viewers inside the aircraft with the crew offered a more personal and intimate perspective of the war that hadn’t been seen before. William Wyler returned from the war deaf in one ear, and forever changed. His experiences would have a direct impact on his future films, and those whose work he inspired.
Wyler’s first film after returning from the war directly drew from his own experiences. ‘The Best Years of Our Lives’ (1946) is about three veterans returning home after the war, and their struggles with adjusting back into civilian life. Said to be one of his most intimate and personal films, the differences between his pre-war films were already becoming clear. Wyler would win his second Oscar for directing, with ‘The Best Years of Our Lives’, and his future films would continue the themes of deep character studies and real human experiences. He introduced Audrey Hepburn to US audiences with ‘Roman Holiday’ (1953) in 1953, and in 1959 he directed ‘Ben-Hur’ (1959) which won 11 Oscars. William Wyler is one of the pioneers of Hollywood cinema, and whilst it’s hard to judge the exact effect the Second World War had on his filmmaking. It’s clear that his wartime experiences were a catalyst for a thematic shift towards a more mature and introspective form of storytelling.
John Ford emerged as a major force in Hollywood before the Second World War. Starting as a silent film stuntman and extra for his older brother, he quickly climbed the ranks, becoming a director himself by 1917. Ford explored various genres, showcasing his versatility with romantic comedies, social dramas, and of course, westerns. By the late 1930s, he was a household name, directing classics like ‘Stagecoach’ (1939) and ‘The Grapes of Wrath’ (1940). His pre-war westerns were often romanticized and morally straightforward; with clear heroes and villains. But much like William Wyler, Ford’s wartime experiences would soon have a profound impact on his filmmaking style and thematic choices.
During the war, Ford led the photographic unit for the Office of Strategic Services. He and his team largely focused on secret photographic missions and intelligence gathering for the OSS, but Ford also directed a number of propaganda films during this time. His 1942 film ‘The Battle of Midway’ (1942) - which later won 4 Oscars - tells the story of the battle through narration and battle footage. It starts by explaining where Midway Island is and its strategic importance, before showing us the battle itself, and the aftermath. Ford shot much of the battle footage himself, and was reportedly wounded by shrapnel in the process. Ending by highlighting Japanese losses, the film serves as a clear propaganda piece meant to boost the morale of the American public, and it succeeded in doing so. But by focusing on the individual people involved as well as the wider events of the battle, it also gives us a glimpse into the human stories of those involved.
Sources differ on whether Ford was actually on present Omaha Beach on D-Day, or if he arrived a few days after the landings, but it was under his direction as head of the OSS Photographic Unit that much of the famous D-Day footage was captured.
After the second world war, Ford returned to Hollywood, and the differences between his pre and post war films echo those seen in William Wyler’s work as well. These differences are particularly apparent in ‘The Searchers’ (1956), a film often referred to as the greatest western of all time. Compared to his earlier westerns with clear-cut good vs evil narratives, The Searchers explores themes of prejudice, racism, and the violence inherent in conquering the West. Particularly of note is the lasting effect violence has on the film’s characters. At this point, the shift towards moral complexity and psychological exploration was becoming a trend across all of Hollywood, and Ford's western’s were at the forefront of this movement. Although he never explicitly stated it, Ford’s wartime experiences likely contributed to this shift, prompting him to question simplistic narratives and explore the darker aspects of the American West. This shift in focus cemented Ford's legacy as a director who redefined the western genre and challenged audiences to confront the complexities of history, through the lens of cinematic storytelling.
Both William Wyler and John Ford can be regularly found on lists of the most influential directors of all time, and their work is still regularly cited as an inspiration by today’s most popular filmmakers. These are just two filmmakers out of many whose approach to filmmaking was forever changed by the events of the Second World War, but their stories highlight how the war was able to cause a global shift in cinematic storytelling. Throughout Europe, audiences who had experienced the horrors of the war first hand, embraced realism. Whilst these films were generally less extravagant than their Hollywood counterparts, everyday human stories took centre stage in much the same way.
After years of wartime propaganda films showing audiences the clear-cut villains of the opposing side, more morally complex and nuanced stories were now being embraced throughout all genres of cinema."
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