This is not a perfect film, but it was made at the end of an era when films about World War II were made for veteran audiences. Movies like Tora Tora Tora and the Battle of Britain were about battles and almost completely ignored the human stories. Yanks is a pioneer in the genre of wartime humanism. Without Yanks we would not have films like: Hope & Glory, Swing Shift, The Pianist, Mrs. Henderson Presents, Bon Voyage, Charlotte Grey, Radio Days, Das Boot, Rosenstasse, Downfall, Black Book, and even Schindler's List.Adding to the strength of the new genre is a certain authenticity the film maintains. From the unabashed male nudity in the showers to the grimy black Victorian buildings of pre Thatcher Britain. Perhaps it's because the film was made when any Brit over the age of 45 would remember the era very clearly, so it wasn't as much of a history film when it was made as it is now. Despite its authentic feel, the period details are not always correct. The men's hairstyles are too long for servicemen and there are other little flaws in the costuming, hairstyles, and props. However, the film's worst problem is the editing. The movie looks like it was a much longer film that was cut down - and that is exactly what happened. The half hour that was removed from the final cut made every story choppy and incomplete. The romance is on again/off again without explanation, and some scenes seem to be thrown in that are unrelated to the storyline, like the black soldiers at the dance hall. Either a different edit or director's cut would improve the film considerably. Despite these issues, the film is still an important one, and worthy of watching.

The war in Europe was between more than just the Allies and the Axis. Brit's and Americans, Black and White, Soldier and Civilian. Richard Gere finds this out the very first day he arrives in the beautifully green countryside. A man in the local pub bitterly tells him, "Yank, Go Home!" to which Gere replies (unaware that the man's son was just killed in action) "I didn't want to come here anyway!". But when he falls in love with a pretty British girl (Lisa Eichhorn) who is already involved with a British soldier off fighting, he finds out more than he bargained for in the conflict for freedom.For American officer William Devane and his married British lover (Vanessa Redgrave), they learn the same things. On the way, we discover the hatred between white American soldiers and the black American soldiers who take over the floor at a local dance, jitterbugging with the British white girls, an offense to certain white Americans. We also see the resentments of the local country folk, forced to ration so the American soldiers can get enough to eat, and that the differences they are fighting over is everything they are fighting the Germans and Italians for! There are too many brilliant performances of a talented cast portraying extremely real people, having understandable romantic conquests, political conflicts and ugly racial prejudices. Gere, Redgrave and Rachel Roberts (as Eichhorn's worried mother) stand out. A gorgeous musical score is complemented by hit songs of the time, and John Schleshinger's beautiful direction keeps the film moving fast, even though it is almost 2 1/2 hours long. An interesting small story within the film concerns Redgrave's sensitive teenage son who is bullied in his private school. Redgrave reminds me so much in this of a younger Deborah Kerr with her sweet angelic performance. Not on anyone's popularity list at this time (as it was right after her infamous 1978 Oscar acceptance speech), she is still undeniably brilliant.Gere, after only a handful of films, had stardom assured with this, playing a beautifully likable young man with a hint of Montgomery Clift beneath the surface. Roberts gives her slightly hard-edged mother a subtle vulnerability that is easy to understand. The final scene with her and Gere is beautifully understated. Devane and Eichhorn are good but their parts are not as fleshed out as the others. For companion films to this, I recommend Woody Allen's "Radio Days" and John Boorman's "Hope and Glory" which are three of the best post-war films made about World War II and life on the homefront.

Was sad to see the passing of Tony Melody this summer. He was such a good yet under sung character actor. His performance in Yanks was excellent and the mischievous smile he cracked when he said there would be 'no danger' of the bottle of whisky remaining unopened was brilliant as oppose to his wife's refusal to eat the cake that Geres character had prepared.I wonder if the picture of his character he showed Gere when he was talking about his war service was actually his real father as he had served in the Guards during the first world war - just a thought.Lisa Eichorn had me fooled for many a year - that Lancashire accent is spot on.

John Schlesinger returns to the land of his early, wonderful "A Kind Of Loving" and "Billy Liar" for a cross-cultural love story with a critical but undoubtedly affectionate eye. Richard Gere, pre-"American Gigolo" is terrific as Matt, the cook who falls for Jean, the local English rose played beautifully by the splendid American actress, Lisa Eichhorn. The Americans posted in the North of England felt truly abroad, they could hardly understand the lingo. For the locals it was a different story, they understood the American GI's because after all, they spoke like Gary Cooper. The elders look at the abrasive newcomers with politeness but also with a tinge of suspicion. There was a catch phrase at the time to describe the American troops: "They're overpaid, oversexed and over here" The cultural differences go beyond language and in a masterful writing stroke tells us why. Richard Gere tells Lisa Eichhorn about his dreams for the future - building a chain of Motels across America - while her British boyfriend dreams of getting married and building their home above his parents shop. Lisa Eichhorn's Jane is the perfect "man in the middle" attached to her parents (the wonderful Rachel Roberts and Tony Melody)world, and at the same time, she is fascinated by Richard Gere's look at the American dream - the "everything is possible" mentality. The film is a gem. Unfairly overlooked in its day but now on its 30th anniversary risks to be rediscovered and and re-evaluated. It certainly deserves another life.