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This experience is epitomized by the story of Fred Derry (Dana Andrews) in The Best Years of Our Lives. Fred, a simple soda jerk in the service, rose to the rank of Captain during the war and was heavily decorated. Upon his return home, he does not wish to return to his old job, not after all that he experienced in the war. However, he soon finds that his adept skill at accurately dropping bombs and surviving enemy fire does not translate to a good job at home, and finally is forced to accept a job at the drugstore. His retention of his military clothes, in particular his bomber jacket, is representative of his difficulty adjusting to ordinary, civilian status. His inability to adjust to his new life at hom is linked to his inability to give up the prestige and honor the war lent him. In this way, The Best Years of Our Lives was able to recreate a nationwide phenomenon which verterans were experiencing themselves and to which they could relate.
In this article, David Serlin examines homosexuality and disability in the U.S. Military, as well as in American society, and draws links between the two in terms of their relation to ideal male military body. Just as soldiers in American history have undergone extensive physical tests to ensure their fitness to serve in the military, so were they also tested for signs of feminization, emasculation or homosexual tendencies. For example, during World War I, "gloved physicians tested recruits' sphincter muscles to see if they had lost the proper resistance due to unnatural activities." In addition, urine samples were examined for the presence of adequate amounts of testosterone, and recruits were judged on their reaction to derisive and abusive treatment to weed out the effeminate and weak.
Serlin argues that this perception of disability changed drastically after the able-bodied soldier underwent a war-induced casualty. While perceptions of disabled veterans in film at the beginning of the century tended to cast them negatively, this changed drastically during the hyperpatriotism of American culture during the war. This new mindset "affirmed the disfigured veteran amputee as competent, virile, and heterosexual." Throughout the war, images of the war-wounded were considered patriotic, and were often shown in new reports, newspapers and other forms of popular media.
This conception of the disabled veteran during the mid-1940s is projected in the character of Homer Parrish in The Best Years of Our Lives. Played by real-life double amputee Harold Russell, the role examines not only the difficulty of transitioning to life at home after the war, but also about coping with a major, debilitating war injury. Compared to films earlier in the century which portrayed such disabilities as abnormal, The Best Years of Our Lives glorifies the sacrifice he made, both his arms, in the name of his country. As a result of his performance, Russell won the Best Supporting Actor Oscar for his performance in addition to a Special Honorary Oscar "for bringing hope and courage to fellow veterans." The portrayal of his role in the film, in addition to its reception by the American movie-going public, validates Serlin's interpretation of the American perception of disabilities in 1946