On War, Guilt and ‘Thank You for Your Service’: Elizabeth Samet

Watch a 1940s or 1950s movie set in New York City -- noir, comedy or melodrama -- and you are sure to spot him: straphanging on a crowded subway car, buying a newspaper at a kiosk or sitting in a coffee shop. The anonymous man in uniform is a stock extra in these films, as elemental to the urban landscape as the beat cop, the woman with the baby carriage or the couple in love.

But today, a woman or man in military uniform dining in a restaurant, sitting on a bench in Central Park or walking up Broadway constitutes a spectacle. I have witnessed this firsthand whenever one of my military colleagues and I have taken West Point cadets to the city to attend a performance or to visit a library or museum. My civilian clothes provide camouflage as I watch my uniformed friends bombarded by gratitude.