"Docudrama" about the bombing of Pearl Harbor on December 7th, 1941 and its results, the recovering of the ships, the improving of defense in Hawaii and the US efforts to beat back the Japanese reinforcements.
This film exists in two versions. The released version recreates Japan's attack on Pearl Harbor and its aftermath. The longer, unreleased cut (which is rarely screened) brackets this material fictional sequences. The introductory sequence shows Uncle Sam on vacation in Hawaii on December 6th. A character embodying the Voice of Responsibility warns him that ignoring Japanese immigrant Fifth Column activity will lead to disaster. The concluding sequence the ghost of a serviceman killed in the attack discussing how the US will beat the Japanese with the ghost of a World War I soldier in Arlington National Cemetary.
After America entered World War II at the close of 1941, Hollywood directors were "drafted" into making short films for the war effort. These directors included Frank Capra, Alfred Hitchcock, John Huston, and the most poetic, sentimental of Hollywood directors at the time- John Ford. Ford made this short film. Part of it is a political cartoon come to life. Uncle Sam (Walter Huston) is on vacation in Hawaii. It's not yet December 7th, 1941. He doesn't have a care in the world, other than his conscious (played with delicate humor by the great Harry Davenport!) reminding him of possible trouble brewing. The film also serves as a neat documentary about life in Hawaii before the war, and offers a peek into the heavy Japanese-American population at the time. Look for Dana Andrews in a ghostly bit part. History books just have the dates and places of historic occurrences. This seldom seen classic shows the mindset!
Greg Toland, a phenomenal and temperamental cinematorgrapher ("Citizen Kane" inter alia) wanted to be a director instead of a photographer, and this is basically his film. As part of Ford's Field Photo group he was assigned this project, which was to explain how and why Pearl Harbor could have happened.
Toland was a better photographer than a director. Very little documentary footage of the Pearl Harbor attack existed. Most of what was available was shot after the attack, sometimes days later. So Toland organized a lengthy (some 80 minute-long) version of events by restaging the attack both in Hawaii and on the studio lots in Hollywood.
The rather long prologue is like a cartoon. Walter Houston is dressed in an Uncle Sam costume and has a sort of argument with his conscience before the attack. Oh, sure, Uncle Sam admits, there are some traitors among the hyphenated Japanese but they're a negligible threat. We get to hear Philip Ahn (a Korean) explain that Shintoism is Japan, and Japan Shintoism, and that Hirohito is the direct descendant of God, which must have gone over well with Christians.
The attack itself is reasonably well done for the time but embarrassing to watch now. American dive bombers pose as Japanese. The model work, with tiny airplanes on strings, is obvious. Cardboard ships explode into slivers in a tank. Non-actors pose as American servicemen and die Hollywood deaths, twisting and falling gracefully. The narrator tells us that the whole deal might have been different if an inexperienced lieutenant had heeded the radar warning of a subordinate, which is true, but which couldn't be admitted at the time. The result was an unshowable movie.
Ford and his editor, Robert Sherwood, were called in to try salvaging it by cutting it down to about half an hour. Ford may or may not have added any shots. Only one of them resembles something he might have done. (A chaplain saying mass cuts it short, makes the sign of the cross, and says, "To your battle stations, boys.") Of course Ford's name is on the credits as director. He was John Ford. But it isn't his picture. 646f9e108c
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