Pearl Harbour

December 7th, 1941 (1943)

*** 1/2 (out of 4)

John Ford's highly entertaining recreation of Pearl Harbor and the events after it certainly deserved the Academy Award win it received for Best Documentary Short. The film mixes recreated scenes very well with actual footage and I'd go as far to say that the battle scenes (done with models) are among the best from any war film of the period. The version I watched was the original, 34-minute theatrical version.

All of Ford's WW2 shorts are worth seeking out as well as the film's done by Frank Capra during this period.

It's hard to imagine why this little gem of a flick was unavailable for 50 years. Actually, the original 82-minute length with its brief references to a missed opportunity involving a radar that picked up the Japanese attack force was banned by Chief of Staff George C. Marshall as inflammatory. Cinematographer Gregg Toland had filmed most of it on a Hollywood lot, but producer John Ford had to come in and edit in down a 34-minute film. Amazingingly, it won Ford his fourth Oscar -- as a documentary.

You have to get the full 82-minute version. The first 15 minutes are blatantly racist and jingoistic. Walter Huston plays the embodiment of Uncle Sam, which is pacifist, as America was in 1941, despite the war in Europe. Harry Davenport plays Mr. C, Uncle Sam's conscience. The two begin a dialogue where, despite Uncle Sam's best efforts to portray Japanese-Americans as loyal, Mr. C picks apart the defense and sells our own citizens are being ripe for recruitment by the Imperial Japanese military. It's done so covertly as to leave the impression that any Japanese-American could be a spy. It even uses Korean actor Philip Ahn as a smiling Shinto priest to malign that religion and say that any religion other than Christianity is immoral.

Amazingly, Nazi spies show up to "aid" the Japanese spies, who are always smiling. Toland shows Nazi spies listening to the conversations of sailors and civilians who spill military secrets like slippery glasses of milk. Oddly enough, the scenes of Americans freely spilling secrets and Nazis spies walking around Hawaii pretty as they pleased should have been more of a security concern than Japanese-Americans who taught their kids about their ancestry and culture.

The action shifts (finally) to December 7th. The radar scene is featured prominently, then the Japanese planes attack. I have to say that Toland may have thought his special effects were something in 1943, but now they look just plain cheesy. Paper-mache ships explode in showers of sparks, instead of flames. You can clearly see the strings holding up the Japanese planes. Despite being riddled by .30- and .50-caliber bullets from the Japanese planes, American sailors take the time to stop, drop and die gracefully.

What's most galling is the inaccuracies. Toland shows the battleship Nevada underway (which really happened), but then shows Japanese torpedoes blowing her into a mass of flaming wreckage. In reality, about 25 Japanese bombs wrecked her decks as the Nipponese pilots desperately tried to sink her to bottle up the entrance to Pearl Harbor.

Also, the movie shows mock-ups of the battleship Pennsylvania, as well as the destroyers Cassin and Downes. All three are in dry dock. Suddenly, a slew of bombs rips the Pennsylvania apart. The destroyers follow suit. In reality, a crane operator used his crane boom to thwart attacks on the Pennsylvania and she suffered one superficial bomb hit. The missed bombs, however, did pummel Cassin and Downes in junk that boxed the battleship in for weeks.

Also, the narrator "cleverly" points out that the Japanese pilots calmly fly across Hawaii, confident that their attack is a complete surprise, but they many hundreds of Japanese-Americans-turned-spies have lulled America to sleep. The pilots know they are about to deal a blow to the ships that lay at anchor because they have been specifically targetting those same ships in practice. Also, the two Japanese ambassadors in Washington talking to Henry Hull, are called sneaky and bland, knowing the attack is imminent.

In truth, the attacking pilots were afraid that they would be met by American fighters and anti-aircraft fire all the way in. When they broke into the skies above the anchorage with no American the wiser, only then did squadron leaders issue the code word that meant they had achieved complete surprise. The pilots had been after the American carriers all along, not the battleships, but only learned the carriers were not in port just a short time before take-off. Fuel concerns and fears of American submarines prompted them to launch the attack rather than wait a day or so to see if the carriers appeared. Finally, the Japanese ambassadors in Washington had no idea an attack was to occur. Japanese prime minister Hideki Tojo had sent them a confusing message that made no hint of war. Tojo knew the ambassadors were fond of America and didn't want them giving out any warnings.

The movie shows the three Japanese midget submarines that were captured after the attack and says they were all captured. In reality, three were captured, but two were sunk, along with the mother submarine that had carried them all. Curiously, one sub was sunk as it entered the harbor prior to the attack, but the report somehow never made it to the right people. That was a more glaring error than the radar foul-up, but some poor Army Air Force lieutenant incurs Toland's wrath rather than the captains and admirals who screwed up the submarine report.

Also, the narrator (George O'Brien) triumphantly remarks that 200 Japanese planes attacked and 50 were shot down. The movie shows the second wave of Japanese planes being shredded and driven off by our brave gunners. In truth, only 29 planes and 55 Japanese fligth crewmen were lost (along with 25 guys on the submarines, including the ones on the captured midget subs who committed suicide). Here were have America's first instance of enemy casualty rates.

The film ends with the narrator pointing out some of the sailors and Marines who died. Toland and Ford are smart enough to include all races -- black, white and Hispanic. The parents of the deceased potrayed themselves. The movie ends with a patriotic speech between the narrator and the ghost of an American sailor, played by Dana Andrews. I'm as patriotic as the next guy, but I was ready to puke by this point.

Back in 1942 when this film was first shot, the inaccuracies and racism were overlooked because they got Americans' blood boiling. After the war when the facts of Pearl Harbor slowly came out, the film looked more and more fake, ultimately becoming as much a novelty as those stupid government education films of the 50's and 60's that warned of Communists around every corner and of marijuana destroying the country.

All in all, December the 7th is worth a look just to see how America portrayed itself and its enemies during the war. The Japanese did the same thing with a film called "I Bombed Pearl Harbor," which was a hit in Japan until the Imperial Navy went down in flames at Midway.

If you want to know what really happened at Pearl Harbor, buy the war classic "Tora, Tora, Tora."

Docudrama about the Japanese attack on Pearl Harbor on December 7th, 1941, that led to the US entering World War II. The version I have seen twice now on TCM is the unedited 82-minute version. The shorter version, which runs 34 minutes, is the one that won the Oscar for short subject documentary. The first part of the film is amusingly corny. Uncle Sam (Walter Huston) is vacationing in Hawaii, where he is interrupted by his conscience (Harry Davenport) the day before the attack. They discuss the history of Hawaii, the loyalty of Japanese-Americans, and America's complacency. From there we have the Pearl Harbor attack and the entry into the war. These scenes are a combination of stock footage and recreations shot by famed cinematographer Gregg Toland. It's not hard to differentiate between the two. Dana Andrews plays the ghost of a sailor who died at Pearl Harbor and Paul Hurst plays the ghost of a soldier who died in WWI. The credit for this film seems to go to John Ford, although it appears all he may have done is edit down Gregg Toland's longer version. I haven't read up on the film's history so I can't say for sure. I will say that very little about this screamed John Ford to me, stylistically speaking. Like I said, it's corny and maybe a little offensive if you want it to be, but I found it pretty fascinating. It's a nice window into the mindsets of Americans at the time and how they felt about these issues and events. The attack itself is excitingly recreated. WWII buffs should find a lot to chew on here. Everybody else, how you'll feel about it likely depends on the baggage you bring with you. Some will like it, some will hate it, and some will like to hate it. Hopefully most of you will find it interesting and your blood pressure will be unaffected.

This is another war documentary by Ford, obviously detailing the nefarious 1941 Japanese attack on Pearl Harbour that saw the U.S. finally enter WWII. Ironically, the film was originally made as a feature (running 82 minutes) but was heavily censored by the authorities – despite having been commissioned by President Roosevelt himself! – to the point that it was reduced to a 34-minute short, entered in the Academy Award category for Best Documentary Short and winning the Oscar! For the record, only the edited version was released among the extras on Fox's BECOMING JOHN FORD (2007) DVD and, while I managed to acquire the full-length edition off "You Tube", I opted to only watch the shorter print in view of its being Oscar season!

Anyway, this makes a much better attempt to tell the whole story than THE BATTLE OF MIDWAY (one imagines the feature being that more comprehensive in this regard!), and only resorts to mawkishness – albeit movingly done regardless – towards the end i.e. when the fallen soldiers 'introduce' themselves to the audience. Needless to say, the Japanese side is depicted in strictly caricatured terms (which was the accepted norm for the duration of the conflict, seen also in contemporary cartoons!)…but, while a Japanese civilian (sympathizing with the invasion) is interviewed, we also get to see how other naturalized Orientals hid evidence (not just store-signs but the Asian calligraphy itself!) of their old country in shame. Again, a number of stars lend their services to provide the accompanying narration: I recognized Walter Huston's voice in this streamlined copy but, reportedly, the likes of Harry Davenport and Dana Andrews were also involved.

I saw the short, 34 minute, version of this film and I'm intrigued by the notion of what constitutes a documentary since so much of this film has been recreated. Essentially the story of what happened on that morning this is brief retelling of what happened, mixed with a rousing warning to the Japanese that the destruction they caused wasn't as fatal as they would have liked.

I'm of mixed minds about the film. Certainly the recreation of the bombing is stunning and had I seen this film back in the 1940's I would have been floored by it since its often a great mix of almost believable Hollywood magic and real life footage. Its so good that its clear that later recreations of the attack like Tora Tora Tora and Pearl Harbor stole shots and sequences from it. Unfortunately these same films, freed of the shackles of having to be a propaganda puff piece, are more interesting to watch. We can get lost in the story and don't need to have our patriotism pumped up.

Its not bad, its just more a curio that should be viewed in context of when it was made rather than as a piece of entertainment or a source of real information on the subject.

Worth a look for those who want to see a snapshot of how the war was viewed during the war, or for those cine-files who want to see where later movies cribbed their shots.