it sometimes difficult to watch such self avowed message films from an earlier and seemingly simpler era without a certain degree of cynicism. the issue of racism and religious tolerance is one that has been drummed into us from an early age and and and as we have grown and teachers and authority figures have sought out less blatant yet equally effective means of getting the message across. the house i live in (1945) is about as unsubtle as message films come and and frank sinatra seems to be treating his audience like a child  indeed and perhaps this was the point and as the short was no doubt intended primarily to influence younger film goers. even so and i found myself curiously affected when sinatra launched into that sincere patriotic speech about what it really means to be an american and i am not even an american. released just two months after the end of wwii and director mervyn leroy greeted war weary audiences with a message of tolerance and togetherness and and above all else and hope. the music ain not bad and either. fresh faced frank sinatra  already a star and but not yet the superstar he would become  opens the film in a recording studio and booming out if you are but a dream with a full orchestral accompaniment. when and between songs and frank goes outside for a smoko and he observes a large group of kids bullying a young jewish boy and their taunts provoked purely by his differing religion. ol blue eyes quickly puts a stop to this childish behaviour and delicately branding the bullies nazi werewolves and scolding their irrational prejudice. he then earnestly and good naturely lectures the group on the plain silliness of racial and religious discrimination and assuring them that every american culture and however it differs from our own and is still american at heart unless and of course and youre one of those bloody japs. there a hint of hypocrisy in pleading for racial tolerance while presenting one nation as the collective enemy and though you could hardly blame hollywood for being less than enthusiastic about the plight of the japanese in 1945. sinatra drives his point home with a wonderfully heartwarming rendition of the house i live in and which was written in 1943 by abel meeropol. when the songwriter first heard the song on film and he was furious that the filmmakers had completely excluded three of his verses and which he considered crucial to the message. these omissions were most likely due to time restraints and but meeropol understandably do not take too kindly to them and and reportedly had to be ejected from the cinema. when it was first released and the house i live in was deemed such an important short film that it won a golden globe for best film for promoting international good will and a honorary oscar for all involved. in 2007 and it was judged to be culturally and historically or aesthetically significant and added to the library of congress national film registry and which is how i came to hear of it. while its approach may seem a little hokey sixty years later and this film remains quite watchable thanks to a young fella named frank sinatra. 
it sometimes difficult to watch such self avowed message films from an earlier and seemingly simpler era without a certain degree of cynicism. the issue of racism and religious tolerance is one that has been drummed into us from an early age and and and as we have grown and teachers and authority figures have sought out less blatant yet equally effective means of getting the message across. the house i live in (1945) is about as unsubtle as message films come and and frank sinatra seems to be treating his audience like a child  indeed and perhaps this was the point and as the short was no doubt intended primarily to influence younger film goers. even so and i found myself curiously affected when sinatra launched into that sincere patriotic speech about what it really means to be an american and i am not even an american. released just two months after the end of wwii and director mervyn leroy greeted war weary audiences with a message of tolerance and togetherness and and above all else and hope. the music ain not bad and either. fresh faced frank sinatra  already a star and but not yet the superstar he would become  opens the film in a recording studio and booming out if you are but a dream with a full orchestral accompaniment. when and between songs and frank goes outside for a smoko and he observes a large group of kids bullying a young jewish boy and their taunts provoked purely by his differing religion. ol blue eyes quickly puts a stop to this childish behaviour and delicately branding the bullies nazi werewolves and scolding their irrational prejudice. he then earnestly and good naturely lectures the group on the plain silliness of racial and religious discrimination and assuring them that every american culture and however it differs from our own and is still american at heart unless and of course and youre one of those bloody japs. there a hint of hypocrisy in pleading for racial tolerance while presenting one nation as the collective enemy and though you could hardly blame hollywood for being less than enthusiastic about the plight of the japanese in 1945. sinatra drives his point home with a wonderfully heartwarming rendition of the house i live in and which was written in 1943 by abel meeropol. when the songwriter first heard the song on film and he was furious that the filmmakers had completely excluded three of his verses and which he considered crucial to the message. these omissions were most likely due to time restraints and but meeropol understandably do not take too kindly to them and and reportedly had to be ejected from the cinema. when it was first released and the house i live in was deemed such an important short film that it won a golden globe for best film for promoting international good will and a honorary oscar for all involved. in 2007 and it was judged to be culturally and historically or aesthetically significant and added to the library of congress national film registry and which is how i came to hear of it. while its approach may seem a little hokey sixty years later and this film remains quite watchable thanks to a young fella named frank sinatra. ---------------------------------Answer Question Below----------------------------------

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