We'll Always Have the Movies: American Cinema During World War II

WE'LL ALWAYS HAVE THE MOVIES American Cinema During World War II BY ROBERT L. MELAUGHLIN AND SALLY E. PARRY UNIVERSITY PRESS OF KENTUCKY 2006, 368 PAGES, $40.00

A fascinating study, this book, despite its title, is far from being fluff. Rather, it is a penetrating analysis of why one picture is worth 1,000 words, as it "explores the process by which actual events become film history and by which film history becomes myth." Some cynics view most World War II movies as propaganda, but this is true only in part. The authors argue successfully that Hollywood's mission was to inform the public of what the conflagration was all about and why the U.S. was involved. Moreover, these films reveal who we were and how we changed with the war.

War movies have "staying power," as witness their replay on television today. "Saving Private Ryan," produced almost a half-century after World War It ended, reflects the public's continued interest in the war years. In fact, it probably was the most authentic depiction ever made by Hollywood, although memorable movies certainly did come out of the 1940s, one being "Casablanca" which won an Academy Award for Best Picture. The authors show how the film reveals the mood of Americans changing from isolationism to involvement. Rick's Cafe resembles the United Nations and harbors an attempt to get diverse elements working together for a common good. And who can forget Humphrey Bogart's Rick uttering the memorable lines, "Here's looking at you, kid" and "Round up the usual suspects!"?

Representing the times, Rick wore the popular belted trenchcoat with shoulder straps and upturned collar as well as a fedora with a down-turned brim. Ingrid Bergman's Ilsa wore dresses and hats, smoked and, in her own way, was an effective activist. Each week of those war years, 90,000,000 people patronized the movie houses and came away with a better understanding of America.

Unlike press releases, films took on a narrative role and added fictional endings, usually happy ones. Hollywood was careful to follow guidelines proposed by the Office of War Information. Among these were to be sure that Americans were well-depicted and that propaganda not be excessive, lest it destroy the picture's credibility. Often, recruitment to the Armed Forces increased as a result.

The delicate issue of numerous Jews in Hollywood power positions and whether they pushed excessively against Nazis is handled diplomatically. Similarly, the movie capital's general left-of-center political directions is discussed. Then, too, many actors had personal axes to grind. To lighten up the serious side of war, some films concentrated on humor. Among these were Abbott and Costello's "Buck Privates," and Bob Hope's "Caught in the Draft" "Citizen Kane" proved to be a strongly anti-fascist presentation and "Sergeant York," given an extended analysis, reflects the mood of disinterest in anything but local occurrences that begins to change as the consequences of the war start to hit home.

The book progresses steadily from the situation in the U.S. just before America became involved; to the surprise attack on Pearl Harbor (when our attention was focused on Germany); to our seeing the Axis as enemies and the Allies--including the Soviet Union--as friends. Next, it discusses films with storylines concerning countries under occupation (like Norway and Greece, with their Underground movements); how images of ourselves began to change; and the homefront.

It's fun to recollect the many films that influenced our views. Among these are "Bataan," "Thirty Seconds Over Tokyo," "The Fighting Sullivans," "Commandos Strike at Dawn," and "Edge of Darkness."

All in all, this book is a wonderful addition to insights of how the media plays a role in the life of Everyman.

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COPYRIGHT 2008 Gale, Cengage Learning