The Yearling (1946)

"The Yearling" is one of those movies I had stayed away from because of my misguided perceptions about what it was going to be like (maudlin, sentimental, "family friendly" in all the worst ways). How wonderful to have those perceptions proven wrong and to discover such a beautiful, moving film.Most people know the plot of this movie. It takes a tough, matter of fact attitude about death and the natural world and doesn't offer a lot of cornball platitudes to soften the blow the way you might expect a movie from the 1940s to do. I wonder if this is largely because it came out right after the end of WWII, when films could begin allowing themselves to be honest and jaded rather than peppy morale boosters. At the same time, it's not a depressing movie; far from it. It captures perfectly one of those experiences -- of which there are many -- that mark the transition from childhood to adulthood. Much is to be gained from being able to experience the world as an adult, but much is lost too.One of the things I liked best about "The Yearling" was its visual style. Art directors Cedric Gibbons and Paul Groesse along with cinematographers Charles Rosher, Leonard Smith, and Arthur Arling use Technicolor to create an almost expressionistic version of the Florida swamps and an isolated farmstead. Parts of the film almost look like they're happening in a dream. The effect highlights the beauty and wonder of the natural world, but it also serves the purpose of making the men who populate it seem even smaller and humbler in comparison to all the grandeur.Gregory Peck and especially Jane Wyman give lovely performances as parents, and Claude Jarman, Jr. won a special juvenile Oscar as the young boy who adopts an ill-advised pet. The film deservedly won the Oscars for Art Direction and Cinematography in the color categories, and brought nominations to Peck and Wyman in the Actor and Actress categories, respectively, as well as to Harold Kress for his editing, Clarence Brown for his directing, and MGM for Best Picture of the year.Grade: A+

Yes, this is a story of coming of age, maturity and the realization that your childhood may be over; with these great themes, I was very much disappointed with this 1946 film.Claude Jarman Jr. was constantly whining here. I also got tired of the constant "paw," "maw," etc. After a while, I expected a backdrop of the Kentucky back woods.The film was a departure for Jane Wyman in her usual sympathetic roles. Here, she was an embittered woman. Frontier life was apparently too much for her. She is also quite nasty; unlike Gregory Peck, who does so well in his usual understanding roles.How about taking the deer and going far away with it? You knew it was going to follow you.Obviously, Jarman realizes that his childhood is over in the film. He could have met up with Jean Brodie; after all, her prime was done for as well.

In 1870s Florida, pioneering Gregory Peck (as Penny "Pa" Baxter) and Jane Wyman (Orry "Ma" Baxter) raise both corn and children. But, growing children can sometimes be a problem. Their first son dies before reaching age two, the next child doesn't make it to age three, and a third is born dead. The pain hardens Ms. Wyman's defenses, while Mr. Peck takes it easier with surviving fourth child, cute Claude Jarman Jr. (as Jody Baxter). The boy optimistically declares, "I'm eleven years old. I'm a-way past the age of dying!" And, so he is - but, that doesn't mean "The Yearling" is done with tragedy.The boy raises a fawn, after cutting out its mother's heart to draw poison from his snake-bitten father.Of, course, you know where this story is going - but, you've got to admit, it's done exceptionally well.Every frame is staged for the maximum amount of heart-tugging cinematic beauty possible. Guided by expert movie makers Sidney Franklin and Clarence Brown, the film is distractingly gorgeous. But, the unnatural quality of picturesque art is balanced by fact that all the animals act like animals; and, Peck anchors it all with an inspirational performance. The only living creature given truly "magical" qualities is Donn Gift (as Fodder-wing), the boy who learns to fly like an angel. This character seems to embody much of the lyricism present in writer Marjorie Kinnan Rawlings' original tear-stained pages.The story puts everything in perspective. Everyone has to get their "insides tore out" sometimes.********** The Yearling (12/18/46) Clarence Brown ~ Gregory Peck, Claude Jarman Jr., Jane Wyman, Donn Gift

Nobody spoke of children like Clarence Brown ,at least in America !Remember "national Velvet" and the last minutes of "the intruder" ,the long conversation between a lawyer and his son..."The yearling" is learning about life .A young boy in a hostile wilderness ,his everyday life,his small joys and his big griefs ...It could be a mushy melodrama,it's never so: If it never falls in the trap of sentiment and it's entirely due to Brown's natural feeling for economy and sparseness which precludes all forms of conventional sentimentality: three children died? He shows three graves and that's it.Jane Wyman's part is certainly the most difficult:when she finally smiles,the viewer feels happy that this kind of scene can be possible. But my favorite scene has always been Peck's speech in the little cemetery ("because we do not know any prayer") where Fodderwing is being buried :it echoes the crippled boy's dreams when he and Jody spent the night in a tree -one of those magical moments of childhood-.Today's children are used to action-packed violent movies: I hope they will enjoy "the yearling" all the same.