Bright Victory

What is really interesting about this movie, is the "race" issues it addresses and for the time in which it was made, that is rather remarkable. The Nevins character is a good old boy from the South and openly expresses his racism. The first time is when he's on the plane headed back to the states and a black soldier sits next to to him. They're both from Florida start talking. Nevins asks him if he knows the country club and the guys says he served tables at it. Nevins now realizes the guy is black and immediately calls over a nurse to sit by him. The next time is in the rehabilitation hospital. Nevins accidentally walks into a black soldier, also blind. All Nevins recognizes is the man's southern accent and offers to buy him a drink. They become "friends" and hang out together. Then one day, the other blind soldiers mention there are some new patients coming into their ward and Nevins pops off, "Yeah, and I heard 3 of them are (uses the "N" word)". The black guys just stops in his tracks now realizing how his new friend really thinks and feels. The other blind white soldiers already knew the guy was black and remarked "Maybe he thought you were colored too". Later on Nevins goes home and is with his parents, who are equally racist. Nevins starts to "see" the errors of his ways/thinking. There is a bit of justification from the father that that was how they were brought up, etc., but for 1951 it is amazing they were even addressing such things let alone using the "N" word.

Director: MARK ROBSON. Screenplay: Robert Buckner. Based on the novel "Lights Out" by Bayard Kendrick. Photography: William Daniels. Film editor: Russell Schoengarth. Art directors: Bernard Herzbrun, Nathan Juran. Set decorators: Russell A. Gausman and John Austin. Music: Frank Skinner. Costumes: Rosemary Odell. Hair styles: Joan St. Oegger. Make-up: Bud Westmore. Assistant director: John Sherwood. Sound recording: Leslie I. Carey, Corson Jowett. Western Electric Sound System. Producer: Robert Buckner. U.S. release: January 1952. U.K. release: 21 April 1951 (sic). A Universal picture. 96 minutes. U.K. release title: "Lights Out". SYNOPSIS: Larry Nevins, a blinded World War 2 veteran, is discharged from hospital, returns home, and attempts to adjust to civilian life. COMMENT: A semi-documentary, largely filmed on location at the General Hospital, Valley Forge, Pennsylvania, has as its theme, the rehabilitation of the blind. That theme is hardly a box-office prospect, although screenwriter- producer Robert (Yankee Doodle Dandy, Night and Day) Buckner has in-advisedly attempted to inject such values via episodes of romantic melodrama that simply don't belong in the proceedings at all. Unfortunately, this is not the only problem that militates against an art-house circuit release. Another black mark so far as sophisticated audiences are concerned, can be chalked up to the movie's lack of artistry. True, Arthur Kennedy delivers one of the finest performances of his career, but in other respects, Mark Robson's direction lacks not only both fire and thunder, but dare we say it, Inspiration?

***SPOILERS*** Struck down by a Germans sniper bullet in the battle of Tunisia US Army Sgt. Larry Nevins, Arthur Kennedy, ends up losing his sight as well as being in the dark for the rest of his life. At the Valley Forge Military Hospital for the blind Larry soon strikes up a relationship with civilian volunteer Judy Greene, Peggy Dow, as well as fellow blind GI Joe Morgan, James Edwards, who unknown to the very racist towards blacks Larry is, as their called today in our mixed up and political correct society, African/American. Larry's relationship with Judy is Luke warm at first but in "seeing" how she cares about Larry as a man not in feeling sorry for him it leads to the two falling in love with each other. As for Larry's friendship with Joe well that's another story. Despite the film being about disable US veterans much like the previous film "The Men" staring Marlon Brando released a year earlier it really centers more around race relations which at the time of its release in 1951 was more or less a taboo subject in Hollywood films. As for Larry he really came across as a total jerk or being tone deft in not realizing that his friend Joe was black in not recognizing his speech pattern that was very obviously that of an, here we go again, African/American for anyone to spot! Even someone like him who grew up back in then in what were shown as racist Florida where he came in contact with blacks in all walks of life! Not realizing that his good friend Joe was black Larry blurted out the notorious "N" word about a number of blacks being admitted in the veterans hospital which he felt was against US Army policy. Then that like the song says turned out to be "The end of a beautiful friendship" between him & Joe. The remainder of the movie has Larry, now ridden with self guilt, trying to "see" things in a way in him being blind that he couldn't see when he had perfect 20/20 vision. That lead Larry to become a far better man then he was before he lost his sight. That in Larry dropping the girl that he left behind Chris, Julie Adama,who in fact turned out to be as racist, towards blacks, as he was before he was injured and went back to Judy who was both sweet and understanding towards him as well as everyone, black as well as white, she helped with serving coffee & doughnuts at the veterans hospital! ***SPOILERS*** In the final scene of the film "Bright Victory" Larry now a new man with a new attitude towards life and race relations is finally reunited with Joe at the train station who's feeling, in using the "N" word in his presences, he deeply hurt and asked Joe to still be his friend which he gladly excepted. The film showed that even though Larry lost his sight in the end he finally saw the light by "seeing" people like Joe Morgan in what the late Rev. Martin Luther King said not by the color of a persons skin but in the content of their character. Something that while back in the states and US Army,until he was blinded by a sniper's bullet, he was too blind to notice.

Poignant account of blinded war veteran adjusting to civilian life. Though the premise has built-in emotional appeal, that fine actor Arthur Kennedy prevents the tale from becoming too sappy or even sentimental. Understandably, there were a number of these "adjustment" movies made after WWII, The Best Years Of Our Lives (1946), and The Men (1950), to name two. More than the others, I think, BV follows one man's (Kennedy) difficulties in re- integrating with family, love life, and community. Naturally, films of this type sought to be uplifting and optimistic in dealing with a devastating post-war problem. BV is no exception. Then too, the racial subtext is well-handled, bringing to the surface those inner qualities that are often overridden by outer appearance. In that sense, Larry's (Kennedy) perception is ironically sharpened by blindness once he figures out the lesson. The movie's well-made, using actual locations such as city sidewalks, VA hospitals, and train stations, all of which provide a realistic feel. Then too, what guy wouldn't like being helped along by the likes of Judy (Dow) who resembles June Allyson's sexy older sister. Too bad, her accomplished career was so short. Just as regrettable is the amazing James Edwards, one of the first Blacks to get dignified roles. Seems his pioneering career was over-shadowed by the equally charismatic Sydney Poitier. All in all, the movie surpasses its time because of the common humanity that appeals beneath one man's courageous struggle.

Ask most people who brought black actors into serious roles and they'll say Sidney Poitier. Wrong. Before Poitier was James Edwards. Watch him in "Home of the Brave" and "Pork Chop Hill" and no less in this picture. (Ironically, his last role was as a "menial," Scott's orderly in "Patton.") He's been under-appreciated in the sociology of movies. But Edwards doesn't star here, rather it's Arthur Kennedy, who never quite made it as a lead and was soon regularly cast as a charming villain, much like Dan Duryea before him. Nevertheless, he handles this role, a soldier permanently blinded in the war undergoing extensive VA rehabilitation, as well as could be done. We learn things about blindness in "Bright Victory," about its lows and the courage it takes to cope with it. The racist issue is secondary but by no means muted. It may be a little simplistic to proclaim that the racist divide is simply a visual prejudice--that to a blind man everybody is the same color--but it's a start. Another important prejudice issue is about handicaps. Kennedy's high school sweetheart has to finally reject him because she realizes she can't cope with his blindness (contrast with "The Best Years of Our Lives"). Even his parents have to teach themselves to deal with it. It's a tough-minded film, all in all, unique in its way, not meant to be "heartwarming" as films about the handicapped seem to have to be these days.

It seems I had made a comment on this film and it vanished. That comment had to do with the brutal honesty of this work, because it deals with a racial issue, and the write and director took a lot of chances keeping a certain word often used to refer to people of a certain skin colour. I was absolutely shocked to hear that word used in this film, it actually made me jump out of my seat. It was used in a derogatory manner, but that does not mean that this is a racist or even a racial film, Racism is just one of the issues dealt with in the film. Which I think is more the issue here, than the lead loosing his sight and learning how to deal with it. In the script, the character learned that colour does not matter, with or without sight. And so, I appreciate this moovie, it took a lot of courage to keep that word in the script to make a bigger and better statement. Also I had made a comment that Peggy Dow was in this film, which turns out to be a rare "treat"- I had heard she retired from films shortly after this one, if she would have stayed on, she may have been a bigger name, but as it is, she was perfect for the part. I was comparing this to "Some Came Running," a film that a big deal was made out of: And was ruined by the editing of one word. Dean Martin had told Frank Sinatra that Frank could not marry the character played by Shirley Maclaine, "You can't marry her, she's a pig!" - Well, I am sure that the author of the book on which that was based, did not use the word "Pig" I am sure it is something else, describing a woman of certain virtues. The changing of one word ruined that film for me, and the inclusion of another "bad" word made "Lights Out" a more believable story for me. Because the use of one BAD word, a GOOD moovie was made here. You'll hear the "Bad" word when the lead finds out that his best friend is a coloured person. In the long run, the lead learns that it just does not matter. The resolution of this film is satisfactory- And the whole story is told and we can believe in it because of the honesty used. One more thing I mentioned was the camera work, and that they chose not to use rear projection for car ride scenes: This is highly effective when Peggy Dow brings "Nevins" to a park- They are filmed IN the car, actually driving on a road, and look for the scene where they drive under a covered bridge: It is fantastic. Just more of the things that made this moovie Real, Honest, and enjoyable. The original story was called "Lights Out," and I wonder how much the title of the release, "Bright Victory" is because of an earlier (greater) moovie called Dark Victory? But I agree the title had to be changed from Lights Out, and Bright Victory is as good as anything else, right?

One of the reasons I love this movie so much is because my father was in the cast! He was the bus driver who picked up Sargeant Nevins. He has spoken lines, so I've often wondered why his name did not appear on the credits. He was not at all bothered by that, but his family was. But despite that omission, I loved my Dad's stories of how the movie was made, when and where. His part was filmed in Phoenixville, Pennsylvania, near the Valley Forge Veterans Hospital, which I'm sure was part of the whole scene. My Dad was an amateur actor out of Norristown, Pennsylvania. I suppose he had the right build and voice for the part. He actually looked a great deal like Jackie Gleason, and in his bus driver suit, resembled Ralph Cramdon. He was quite proud of his little stint into the movie world. Cherrie

I loved the movie!!! I turned the channel to the movie when it had already started and I couldn't leave. As in many of the older films positive character qualities are taught; this film is a great one for children to see to learn about how "God looks upon the heart" of a man. It's about overcoming, change of heart, honesty, and learning how to value what is truly important in life. Most importantly for me it has a happy predictable ending that left me with such a warm feeling. The more I looked at Arthur Kennedy's facial features the more I saw Kiether Sutherland. I'm wondering if they are kin in some way, but I couldn't find any link on internet searches.

Arthur Kennedy is Larry, a man blinded in WW II battle in "Bright Victory," a 1951 film that also stars Peggy Dow, Julia Adams, James Edwards, Will Geer, Jim Backus, and Larry Keating. Kennedy plays a southern racist whose life plan of marrying his high school sweetheart (Adams) and joining her wealthy father's business comes into doubt when he is shot and his optic nerve shattered during combat. The film takes the viewer through Larry's training with other blind soldiers as he learns to adjust to a sightless life. One of the men, Joe (Edwards) is black and is his best buddy until Larry makes a bigoted remark (and uses the n word for extra emphasis). A fellow soldier points out to him that from now on, he probably won't want to ask someone's race and religion before deciding if they pass muster. This sets Larry thinking. He meets a sympathetic young woman, Judy (Dow), who falls for him but has to let him go home to the life he has there. But when Larry returns to his family, he finds that because he's changed, the world around him has changed, too. This looks to be a B movie but Kennedy received an Oscar nomination for Best Actor, and the acting in the film is A quality, as is the script and direction. Kennedy is excellent and does one thing, I believe intentionally, that is remarkable. At least to these ears, he has no southern accent in the beginning of the film. When he returns home, you start to hear a southern accent in his voice. Now, some might say that Kennedy's southern accent was in and out - I don't believe that was the case. He did what a lot of people with an 'acute ear' do - he picked up the accent of those around him. As a blind man, of course, his ear would even be more acute, and in several scenes, he is shown to have a unique "radar" ability for "feeling" when he is near a building, which is considered by the Army to be a unique gift not shared by many. It would then be in character for him to easily fall in and speak with the same intonation as the accents around him. Kennedy, of course, went on to have a strong career as a character actor (and receive more Oscar nominations) while one of the bit players in the film, Rock Hudson, who is fairly bad even with a couple of lines, hit the superstardom jackpot. Fortunately, Hudson improved greatly before being handed leads. Julia Adams is lovely (and strongly resembles actress Connie Selleca) as Larry's frustrated girlfriend, and Dow is sympathetic as the girl left behind. After a few more movies, the very pretty Dow quit her film career to marry and subsequently raised five children. Will Geer, Larry Keating, and Jim Backus, three strong character actors, appear in this film as well. "Bright Victory" is an excellent movie and well worth watching, particularly for the complicated personality created by Arthur Kennedy.

Bright Victory was one of a trio of films that came out roughly around the same time dealing with rehabilitation of wounded armed service personnel, the other films being The Men and Home From the Brave. This one however dealt with those men blinded in combat. It was also something of a surprise to the studio that produced it. This is clearly a product of Universal's B picture unit, no marquee names head the cast. But Arthur Kennedy's portrayal of Larry Nevins was so well received that he got an Oscar nomination for Best Actor in 1951 losing to Humphrey Bogart. Kennedy is a southern kid, wounded in North Africa and left blinded by the war. He along with many others go to a special army rehabilitation unit for the blind. Along the way he meets Peggy Dow and the two of them hit it off. But Kennedy's got a girl waiting for him back home. The film is about Kennedy's rehabilitation in adjusting to a dark world. He readjusts a few other things as well. Kennedy has the usual southern attitudes about race and rebuffs James Edwards's proffered friendship when he finds out he's black. It's quite a revelation to him to find out that blindness gives the two of them a lot more in common than race had previously divided them. This is the high point of Arthur Kennedy's career. A fine character actor, this film should have put him into leading man ranks. It didn't however, but Kennedy surely never lacked for work throughout his career. Peggy Dow had made her debut in Harvey where she scored well as the empathetic nurse and followed that portrayal with a well received one here. She left the screen after this. Too bad, she was a pretty girl with real talent. Sharp eyes will spot Rock Hudson in a bit part. In another year Rock might have been the lead here and this would have been an A product from Universal. But then Arthur Kennedy would not have gotten his greatest career part.