La propagande officielle américaine pendant la Seconde Guerre mondiale exposant les principaux ennemis des Alliés et pourquoi ils doivent être combattus.La propagande officielle américaine pendant la Seconde Guerre mondiale exposant les principaux ennemis des Alliés et pourquoi ils doivent être combattus.La propagande officielle américaine pendant la Seconde Guerre mondiale exposant les principaux ennemis des Alliés et pourquoi ils doivent être combattus.
- Réalisation
- Scénario
- Casting principal
- Récompensé par 1 Oscar
- 5 victoires au total
Photos
- Narrator
- (voix)
- (non crédité)
- Self
- (images d'archives)
- (as Lord Lytton)
- Self
- (images d'archives)
- (as General Chaing Kai-Shek)
- Self
- (images d'archives)
- (as Darré)
- Self
- (images d'archives)
- (as Dietrich)
- Self
- (images d'archives)
- (as Frank)
- Self
- (images d'archives)
- (as Doctor Goebbels)
- Self
- (images d'archives)
- (as Goring)
- Self
- (images d'archives)
- (as Hess)
- Self
- (images d'archives)
- (as Hitler)
- Self
- (images d'archives)
- (as Kurusu)
- Self
- (images d'archives)
- (as Ley)
- Self
- (images d'archives)
- (as Yosuke Matsuoka)
- Self
- (images d'archives)
- Self
- (images d'archives)
- Self
- (images d'archives)
- (as Reinhardt)
- Self
- (images d'archives)
- (as Doctor Alfred Rosenberg)
Avis à la une
But perhaps surprisingly, Prelude to War and the other films in the series also contain a good deal of accurate factual information, so that unless you're a World War II buff, you can learn quite a bit about how the war progressed and at least one side of why it progressed (one of many necessary sides)--if you watch the series with a critical eye.
The series also contains a lot of intriguing historical footage--including films of Axis military campaigns in execution, and some of the more typical newsreel-type shots of the three Axis leaders--Hitler, Mussolini and Hirohito, their right-hand men and their military and civilian support systems. Just as notable now is footage of various aspects of American life that would have passed by without much thought in 1943--such as cars traveling on relatively sparse, newly built U.S. highway interchanges. You can gain as much from Prelude to War by simply watching the images and keeping in mind the historical context as you can by listening to the narration.
There are a couple rough spots--a montage of Axis armies marching like huge, well-oiled machines probably goes on too long 60-something years later, but surely the aim was to put just a bit of fear as well as an increased fervor to conquer into the new U.S. military recruits.
This film isn't crucial viewing for everyone, but for those who study history, politics, sociology, the military and especially World War II, it is essential.
But there is more than I expected here, which is what is so fascinating and satisfying. Capra is a real filmmaker, he's not just some gun for hire that the Army would get to make something fast and message heavy without any artistic merit. So even when Capra's imagery and tactics of narrative devices beat the drum over the head- perhaps for good reason as it was, again, for the US Army- is really does drive the points home as solid propaganda. And, sometimes, as some decent history too about how Germany and Japan got to where they were in the lead-up into the war. On top of this is Capra's skill in combining documentary footage of Nazis and "the Japs" with various maps showing what the axis powers would do with their far-reaching goals in taking over the road (like an oil-slick it goes over the map), and there's even some really creative animation used. Plus, of course, some actual interviews and footage of politicians.
Overall, while not subtle in the slightest, Prelude to War is a fine piece of film-making that achieves its principle goal: get the soldiers (or the audience in general) riled up about what has happened up until this point in time, and, of course, to 'know-your-enemy' as it were. It's no less an artistic achievement really than anything else Capra was doing in the 1940's.
In the two decades following World War I and the failure of the League of Nations, a spirit of isolationism became prevalent throughout the United States that persisted up to the attack on Pearl Harbor. The government needed to combat this feeling, and thus the birth of the modern American propaganda film.
The film examines the differences between the U.S. and the fascist states of Benito Mussolini, Adolf Hitler and Yamamoto, portraying the latter countries working together as gangsters to conquer the world. In order to do this, Capra made use of footage from "Triumph of the Will", but with different narration designed to support the Allied cause.
Although the goal was to get Americans unified for the war effort, it actually does this in a very welcoming way. Early on we see an appeal to people of different faiths -- including Muslims and Confucians -- that would seem very out of place today (2016). So, although this was a pro-war film, it was also very much a pro-melting pot film in its own way.
Le saviez-vous
- AnecdotesThis film is in the public domain. As a work by Federal Government employees on behalf of the Federal Government, the film is by law ineligible for copyright protection and was released into the public domain at its creation.
- GaffesDuring the (silent) footage of Ethiopians shouting, the angry voices are actually shouting in Kiswahili: "Kwenda!" ("go:), etc. The principal language of Ethiopia is Amharic. Kiswahili (commonly known as "Swahili") is the main language of Kenya, Tanzania and Uganda.
- Citations
Narrator: [Last line] For this is what we are fighting: Freedom's oldest enemy, the passion of the few to rule the many. This isn't just a war. This is the common man's life and death struggle against those who would put him back into slavery. We lose it, and we lose everything. Our homes; the jobs we want to go back to; the books we read; the very food we eat. The hopes we have for our kids; the kids themselves. They won't be ours anymore. That's what's at stake. It's us or them! The chips are down. Two worlds stand against each other. One must die, one must live. One hundred seventy years of freedom decrees our answer.
[Legend - not spoken]
Narrator: "... victory of the democracies can only be complete with the utter defeat of the war machines of Germany and Japan." G.C. Marshall, Chief of Staff
- ConnexionsEdited into The Road to War: Japan (1989)
- Bandes originalesThe Star Spangled Banner
(1814) (uncredited)
Music by John Stafford Smith (1777)
Played often in the score
Meilleurs choix
- How long is Why We Fight?Alimenté par Alexa
Détails
- Durée
- 52min
- Couleur
- Mixage
- Rapport de forme
- 1.37 : 1