"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+

This is a great movie! It was nominated for several Oscars including: Best Actor (Gregory Peck); Best Actress(Jane Wyman); Best Director (Clarence Brown) and Best Picture. Claude Jarman, Jr. did receive a special Oscar as a child actor. I have read the book, and it is better. I consider Marjorie Kinnan Rawlings's novel to be one of the best coming-of-age novels ever written. It is full of symbolism. But, one can easily relate to Jody at any age, and even without the symbolism. Any slight reservations I have about the movie are only related to my comparison between the greatness of the book over the greatness of the movie. It is hard to capture literary symbolism in a movie, but this movie, comes close to "hitting the mark." Jane Wyman is very good as Jody's hardened mother, Orry Baxter, who has learned to be disappointed with life and its hardships. Gregory Peck plays Jody's father, Penny Baxter, who wants to let Jody (Claude Jarman, Jr.) enjoy the joys of childhood as long as he can before facing hardships of the world. Flag, Jody's adapted fawn, is the joy of his life. The movie may overplay the traits of these three characters a bit to them drive home. That is, near the beginning of the movie, Wyman may seem a bit too hard, Peck may seem a bit too interested in Jody's happiness, and Jody may seem a bit too romantic about life. But, one soon overlooks any of these exaggerations and becomes involved in the story. Claude Jarman, Jr.won a Special Oscar for this role as a young boy of 12 when this picture was made. The character of Fodderwing strikes me as something of a Christ figure in this movie.

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.

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.