John T. Ryan ANYONE WHO HAS visited the U.S.S. ARIZONA MEMORIAL at Pearl Harbor, in Hawaii will be interested in any film that relates to the attack of December 7, 1941. The devastation of that first Sunday in December was designed by the forces of Imperial Japan to render Uncle Sam impotent to do anything while the tentacles of "the Greater East Asia Co Prosperity Sphere"(Japanese Empire for short)stretched out across the Phillipines, Hong Kong, Malaya, Indonesia and many other islands.WELL SCHULTZ, NO matter how bad things were at that low point, we rebounded and got our industry geared up for War Production. We believe it was Japanese Admiral Yamaoto who said: "We have only succeeded in awakening a Slumbering Giant!" (maybe it was "Sleeping Giant!") RATHER THAN BEING a Documentary, a Drama or even a Docu-Drama, the film emerged as a true Fantasy. It features a vacationing Uncle Sam (Walter Huston) looking over and evaluating the then U.S. Territory of Hawaii. He is soon joined by a "Mr. C" (for Constitution? played by Harry Davenport). The imaginary pair start a lively and deeply analytical discussion about the history, geographical importance and demographical breakdown of Hawaii.IT IS MADE perfectly clear that the majority components of the Territory was not Caucasain*, but rather of an Asiatic origin from China, the Phillipines and other lands. But the single largest component of the peoples here are of Japanese descent.THE FILM IS careful to show all of the positive side of the business, social and especially family structure of the Japanese American. Without having to resort to any fanciful speculation or slanted views, the characters make the case in favor of these Neisi folks. The storyline centers on the issue of "different" peoples' having similar likes, needs and abilities. The words "Race" and "Racisim", which are so commonly thrown about in today's media, are absent from this celluloid dissertation.ODDLY ENOUGH, THE storyline then takes a sharp turn in demonstrating just how little bits of info can be woven into big time espionage and a clear and present danger to our security. An imaginary scenario is presented that portrays that not all Axis Spies in the Pacific are Asian; as we have the Japanese Consulate being briefed by a Nazi German agent. Wisely, the adage of "the slip of the lip can sink a ship" is demonstrated with German operatives eavesdropping on people engaged in pertinent info in restaurant.AS WELL INTENDED and truthful that this scene was, we can't help but feel that it was an indicator of the mentality behind the Japanese Relocation Centers created by FDR at the behest of California Governor Earl Warren.THE MILITARY RELOCATION Camps are, in retrospect, one of the Darkest Days in our History and a shameful display of governmental abuse. (Ironically there was not even one case of sabotage or collaboration with the Axis Powers by a Japanese American; although the same can't be said for Germans, who weren't interned.) THE MOVIE FINISHES up with some hopeful words of wisdom from some Soldiers, Sailors Marines and Airmen who died on that "Day of Infamy", whose spirits told their stories.IN WHAT WAS a fine and genuinely heart felt gesture to the families of those who gave their all on 12/7/41, Family Members of several young Servicemen appear to honor their Sons.WHEN VIEWING THIS movie today, we must at least try to see it through the lens of time. Remember, it was big war and very scary.

classicsoncall Even as World War II was raging in 1943, there did not exist a lot of war footage to illustrate America's entry into the conflict. President Franklin Roosevelt ordered up this documentary piece to help explain the events that occurred before, during and after the tragic attack on Pearl Harbor by the Japanese. This eighty two minute documentary treatment was not released during the War because of objections by the U.S. Navy. A thirty four minute version was gleaned from the longer picture by director John Ford, and won an Academy Award for Best Short Subject in 1943.I found the approach used to be somewhat odd but also effective, with the character of Uncle Sam (Walter Huston) having a conversation with what was ostensibly his conscience (portrayed by Harry Davenport). Uncle Sam, the pacifist was fairly convinced that Japan did not pose an immediate threat to the country, while his alter-ego argued on the side of vigilance and caution.The first part of the film offers some startling facts about life on Hawaii at the time relative to the Japanese-American population. In 1941, one hundred fifty seven thousand Japanese represented thirty seven percent of the population of the Islands, and the majority of those (one hundred twenty two thousand) were actually American citizens. The narrator reveals that many of them were born in Hawaii, as a courtyard of school children are shown patriotically reciting the Pledge of Allegiance and singing 'God Bless America'. In hindsight, these demonstrations appear almost surreal on film.Contrasted against this show of patriotism is a brief history of Shintoism, an almost religious worship of the First Japanese Emperor considered immortal, with Japanese Emperor Hirohito representing a mortal image of a deity. The reverence shown by the Japanese in honoring their ancestors created a strong racial and social bond between them and the Imperial Dynasty, thereby posing a cautionary reaction in those who would distrust Japanese-American Hawaiians as potential enemies who might feed vital military information back to Japan.In regards to the actual attack on Pearl harbor, the film uses reenactments interspersed with actual combat footage, and it's never difficult to tell the difference between the two. Considering the era and technology available, the effort is generally effective as long as one overlooks the obvious use of toy battleship replicas and cardboard mock-ups. With the attack lasting ten minutes shy of two hours, the horror and destruction amassed within that time frame was virtually inconceivable at the time. The obvious reaction of the country in 1941 was one of horror and disgust, and as one observes those events today from the vantage point of seventy plus years, it's remarkable how the country came together to recoup and rebuild it's way back to victory.

MARIO GAUCI 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.

dbborroughs 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.