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This is one of the earliest features produced by Stanley Kramer (1949), an updated adaptation by Carl Foreman of an Arthur Laurents play about the traumatic effects of prejudice on an American soldier during World War I. In the play the character who undergoes psychiatric treatment after being taunted by his fellow soldiers is a Jew; the film makes him a black man (James Edwards) during World War II. Though the drama has its moments of power, the treatment of its subject now seems cautious and dated. 

Modern audiences will view Home of the Brave as dated and a bit simplistic, but that doesn't stop it from being a powerful and important film. Its importance lies in it being one of a number of films of its era that attempted to address serious social issues in American society -- in this case, bigotry. Although the Arthur Laurents play that is its source concentrated on anti-Semitism, the film version of Brave focuses on racial discrimination. It can be argued whether this switch helped or hurt the material, but the end result still gets across the same message about the need to get along with people, no matter how different they may be from you. And yes, Brave drives this point home a bit too hard; but as unrealistic as, say, the ending may be, it still makes quite an impact on the viewer. Besides, preachy or not, the screenplay has delicious dialogue and the kind of scenes that actors kill to get the chance to act. Brave is fortunate to have an exemplary cast, starting with James Edwards, whose leading performance is the glue that holds the picture together. Lloyd Bridges is quietly moving, Steve Brodie perfectly repulsive (as required) and Jeff Corey handles the doctor-as-God part with aplomb.

Gary Tooze

April 30th, 2014