World War II
Between 1942 and 1945, Wyler, who became a United States citizen in 1928, served as a major in the United States Army Air Forces and directed two documentaries: The Memphis Belle: A Story of a Flying Fortress (1944), the story of a Boeing B-17 and its U.S. Army Air Force crew, and Thunderbolt! (1947), with Lester Koenig and John Sturges, the story of a P-47 fighter-bomber squadron in the Mediterranean. Wyler filmed The Memphis Belle at great personal risk, flying over enemy territory on actual bombing missions in 1943; on one flight, Wyler passed out from lack of oxygen. Wyler's associate, cinematographer Harold J. Tannenbaum, was shot down and perished during the filming. The exposure to the sound of the aircraft's engines resulted in Wyler losing his hearing in one ear.
Wyler also directed a film which captured the mood of the nation as it turned to peace after the war, The Best Years of Our Lives (1946). This story of the homecoming of three veterans from World War II dramatized the problems of returning veterans in their adjustment back to civilian life. Arguably his most personal film, Best Years drew on Wyler's own experience returning home to his family after three years on the front. The Best Years of Our Lives won the Academy Award for Best Director (Wyler's second) and Academy Award for Best Picture, as well as seven other Academy Awards.
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Famous quotes containing the words world war, world and/or war:
“The descendants of Holy Roman Empire monarchies became feeble-minded in the twentieth century, and after World War I had been done in by the democracies; some were kept on to entertain the tourists, like the one they have in England.”
—Ishmael Reed (b. 1938)
“A dense undergrowth of extension cords sustains my upper world of lights, music, and machines of comfort.”
—Mason Cooley (b. 1927)
“War is bestowed like electroshock on the depressive nation; thousands of volts jolting the system, an artificial galvanizing, one effect of which is loss of memory. War comes at the end of the twentieth century as absolute failure of imagination, scientific and political. That a war can be represented as helping a people to “feel good” about themselves, their country, is a measure of that failure.”
—Adrienne Rich (b. 1929)