Abstract

This essay concentrates on William Wyler’s films made before, during, and after World War II. Using archival sources, it seeks to tell the full story of Wyler’s political engagement and the ways in which his beliefs affected such films as Mrs. Miniver, Memphis Belle, The Best Years of Our Lives, The Big Country, and Ben Hur. The author shows that instead of passively accepting strictures from studio heads, censors, or pressure groups, Wyler relentlessly worked for his art to mirror his liberal beliefs.

pdf

Additional Information

ISSN
1553-3905
Print ISSN
0892-2160
Pages
pp. 456-473
Launched on MUSE
2009-02-05
Open Access
No
Back To Top

This website uses cookies to ensure you get the best experience on our website. Without cookies your experience may not be seamless.