Gung Ho - Du saké dans le moteur

Some of the IMDb reviewers to date have noted aspects of bigotry and prejudice in this film. As one commented, the "Gung Ho" of 1986 would never be made today - in 2020. To no longer have cultural prejudices is a worthy goal. But, that we might no longer have freedom of speech and the liberties associated with that is scary.

Not having seen this film until recently, I saw another aspect of it - satire. But it seems not to have been so obvious to others. I can't find anything on the Web that says director Ron Howard intended "Gung Ho" as a satire. So, one doesn't know if he planned it that way or not. What one is left with is a typical comedy of the late 20th century. It lampoons people, places and things in the name of comedy.

So, what to make of "Gung Ho" as a comedy -- or satire? It's crude, it highly exaggerates, and it portrays bigotry. But, portraying bigotry is not the same as being bigoted. Especially where the film lampoons aspects of both Japanese and Americans, their respective cultures of the time, and their work ethics.

And, with that, the film clearly throws political correctness to the wind. For the most part, lampooning PC is good and healthy because it had been carried to such extremes by the end of the last century. The specter of a "thought police" loomed in the future. So, PC itself often clashes with aspects of freedom and liberty, as well as common sense.

Of course, the idea of devotion to the company above all else makes industry a god. And the film clearly shows how the humanity of mankind suffers then, in the families and social structure. I like the undertone of this plot that compares individualism with team work. It points out the strengths of both, and their shortcomings. Its conclusion is very appropriate for a healthy - and happy, society.

If one can see the offsetting poking of fun at the Americans and Japanese in this film, a little lesson emerges about the need for society to get along, and to accept and appreciate our many differences. There's a little of the ugly American in here in George Wendt's meanness with the Japanese manager's wife in the super market. But there's also a depiction of American failure. Again, Wendt's character, Buster, is the source when he argues with a Japanese supervisor on the auto assembly line about allowing occasional flaws to go through. That, indeed, was a striking difference that was at the heart of the Japanese recovery from World War II.

I don't know if anyone connected with this film in 1986 was familiar with that history and how the Japanese industrial supremacy came about. It started in 1950 with a Wyoming-raised American statistician and engineer by the name of W. Edwards Deming. I was fortunate to have attended a talk by Deming in the early 1970s in Washington, D.C., when he related his work with the Japanese to help their industries and economy recover after the war. For his mostly non-scientific members of the audience, Deming kept it very simple. I can never forget his ball bearings example. It was based on his actual statistical studies.

It went something like this. For every 1,000 steel ball bearings that American car makers had been using for wheels, three would be defective. They might be flattened and not perfectly rounded from a flaw at the ball bearing plant. Most wheel bearings will last 100,000 miles or more. But those cars that got wheels with faulty bearings would have wheel problems after just a few thousand miles. Deming used this example with Japanese companies to convince them to single source their suppliers and use zero defects checking up front. By applying this and other principles he used, the Japanese auto industry soon eliminated early car operating problems in all areas.

The result was automobiles that were far more efficient, trouble-free and well made than American cars that had held market sway for decades. Since the early 1980s, Japanese autos have set the standards for quality and workmanship. American and European car makers have been playing catch-up ever since.

So, there's considerably more to this film than a slangy, mocking comedy. One suspects that the director and writers knew and intended that all along. But, packaging it the way they did, it would have some appeal as raw and crude comedy that was something of a fad among many - but not all, movie buffs of that time.

As the reviewers to date indicate - indeed, as with many movies, some viewers may like "Gung Ho" while others may think it's quite bad. Those who haven't yet watched it and may be considering it, should take these things into account.

The last thing that should be mentioned as worthy of note is the acting. There's nothing above average by the American actors -- except for Michael Keaton. He nails the character of Hunt Stevenson, whether one likes him or not. And, Gedde Watanabe is superb as the perplexed, conflicted plant manager, Oishi Kazihiro. Most in the Japanese cast are very good.

Had this movie been made more clearly as a satire, it could have been very enjoyable and entertaining. By thus quashing its otherwise bigoted tone, it could have earned a couple more stars than the six I give it.

Here are some favorite lines. . Hunt Stevenson, "You know, the amazing thing is, I'm not even nervous." Audrey, "Babe?" Stevenson, "Yeah?" Audrey, "You just put your garbage in my car."

Oishi Kazihiro, "You're right! You're right!" Hunt Stevenson, "I am? Are you shittin' me?" Kazihiro, "No. You are in much more trouble than me. Ah ha, ha, ha. I feel much better."

Oishi Kazihiro, after Hunt follows him into the river, "I'm not drowning myself. I'm just freaking out."

I think it great example of the differences between two cultures. It would be a great movie to show in a sociology class. I thought it was pretty funny and I must say that i am a sucker for that "lets band together and get the job done" plot device. It seems most people don't realize that this movie is not just a comedy. It has a few dramatic elements in it as well and I think they blend in nicely. Overall, I give it a solid 8.

Surprised to see the rather low score for this movie. Just saw this film for the first time in 10 years, and was reminded why I like it.

Come back with me, children, to a time when Michael Keaton was a straight-up comedy guy, and you might find some joy in this film. It's a gentle comedy -- the kind Ron Howard specializes in -- but if that's your thing, you should check this out. Keaton's low-key charm is just right for this project.

"Gung Ho" is a bit dated, because it takes places in the last stage of the pre-global economy world, when it still mattered what country a business was based in. That said, it delivers laughs as well as a lesson on how people can learn from each other, to great benefit.

You could watch this film and enjoy it without remembering one scene in particular you really liked, but that's because the whole movie provides a slow but constant stream of laughs. It's like an I.V. drip. And I mean that in a good way.

Gung Ho is one of those movies that you will want to see over and over again. Michael Keaton is put in charge of wooing a Japanese car company to come to his town thus creating jobs for the residents of Hadleyville. What happens after that is one hilarious moment after another. The two cultures clash and it is up to Keaton to hold things together. Look for great performances from Keaton, Gedde Watanabe, George Wendt, Mimi Rogers, John Turturro, Soh Yamamura and Sab Shimomo. All are perfectly cast. Don't be fooled by the low number rating. This is a 7.5 in my book. It is interesting to note that the town name of Hadleyville was also used in High Noon. Yes, there is a real Hadleyville but in Oregon.

With no laughs but with important messages, "Gung Ho" manages to be a reflexive entertainment about the cultural and economical clashes of two nations when they join forces to rise from the ashes an automobile factory that can be the only hope of saving a town. Michael Keaton plays an American executive who gets the job of rescuing such factory with a new leadership coming from Japan with a desperate executive (Gedde Watanabe) trying to save his career from potential failure. The latter's task is to command the American plant and their workers, accustomed to work in a particular way, trying impose the Oriental methods of working for long hours for the benefit of the company and such clashes with the interests of Keaton who's trying to look good before his friends who aren't used to such working journey.

But let's face it: the movie isn't funny. Babaloo Mandel and Lowell Ganz are terrific writers ("Splash", "Parenthood") but they didn't create much moments we could say they were funny, most of the time is just using of caricatures to make some amusing moments, they barely work, maybe two or three scenes. Their concentration to the more engaging aspects was what made "Gung Ho" something really worth seeing. It pokes fun on the culture comparisons between U.S., specially when it comes to both nations traditions but it also establishes a greater sense of supporting each other, one might be better than the other but only together they come up with something bigger, better and stronger. Having a movie like this made on a decade where American superiority was presented in every single movie and also in politics is something of a miracle. It basically says: "We're no longer the strongest nation in the world, neither the most efficient but we can aspire to be if we follow some other examples around the world". Sure, it doesn't paint a fair picture for both sides (Japanese as workaholics who can't contest their bosses and Americans as lazy and incompetent), often recurring to stereotypes but presents something good out of those.

Although a little sloppy, clichéd and never serious enough, "Gung Ho" can be used as a source of inspiration, at least for those who have a company and doesn't know how to bring out the best with their employs, it's always there to bring out of the best of a team, push them to the limits and show them the advantages of following new directives. I know this movie is something of a classic between Administration students in here, and most of them enjoy it. Out of this department, it might be a disappointment for Keaton and Ron Howard fans, they're not at their best. The supporting cast formed with the likes of Mimi Rogers, George Wendt, John Turturro, Rance and Clint Howard save this for a bit, but the most interesting in scene is Watanabe, the funniest in the show.

In the end, it reaches its purpose of presenting a parallel between cultures, but never takes our fully enjoyment, neither much of our laughs. Easy to watch and quite motivational though. 7/10