Thirty Seconds Over Tokyo (1944): WWII Written by Dalton Trumbo

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“One-hundred and thirty-one days after December 7, 1941, a handful of young men, who had never dreamed of glory, struck the first blow at the heart of Japan. This is their true story we tell here.”

It’s easy enough to lump Air Force and Destination Tokyo with this subsequent film because we have the impediment of years between us. We have yet another cast rallied around a star; this time it’s Spencer Tracy leading the charge, as the pragmatic James Doolittle, on a highly confidential mission that would be known to future generations as the Doolittle Raids.

In the contemporary moment, if they had enough time and/or money an audience would possibly have a much easier time differentiating because each picture took on a slightly unique facet of the war. Air Force is all but a flying fortress in the days leading up to and directly following Pearl Harbor. Destination Tokyo is about the recon needed for the Doolittle Raid. 30 Seconds Over Tokyo is a bit like the triumphant exclamation point or at least the start of one.

The work wasn’t done for the Allies but it was a sign of forward progress. And with the benefit of hindsight, we can fill in the open-ended conclusion. We know V-J Day eventually happened only a year later. Consequently, it was also deemed one of the more accurate war pictures as far as military details go.

Much of Tracy’s time is spent as a no-nonsense observer of what is going on. The rest of his performance feels like it’s made up of monologues and yet, as is normally the case, he’s so candid and earnest when he delivers them. He quickly draws the moviegoer in just as he does with all the crew members under his command. It’s the magic he has over a rapt audience to the point you believe every word he says.

Otherwise, Lt. Ted Lawson (Van Johnson) is pretty much our lead. I know he’s not much of an emoter, but he might as well be our stand-in for the American G.I. For the time being, he is surrounded by a bevy of compatriots including Robert Walker, Don DeFore, and Robert Mitchum, among others. They all raise their hands when it comes to volunteering for a top-secret mission.

There’s an electricity in the air as they prepare for news of their assignment even as they are warned that they will be pushed to the limit of their capabilities and then some. The utmost secrecy is maintained and their training is commenced in earnest. The work is hard and they play hard after.

One of the crowd is a goofy down-home caricature portrayed by John R. Reilly. He can be found pounding away to the rhythms of “Chattanooga Choo Choo” in the barracks, intent on any merriment he can muster during off-hours. Meanwhile, the crew of the self-proclaimed Ruptured Duck becomes proficient in their new skill set.

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In his free time, Lawson (Johnson) looks to get all the time in with his beaming wife as possible. Though Phyliss Thaxter glows with utter radiance in every scene, it does feel a bit overly twee at times.

Since a group of the fellas have their brides with them, they get together to dance, finding solidarity in songs like “Deep in The Heart of Texas” and a Hollywood mainstay, “Auld Lange Syne.” It’s especially effective for wringing out every last drop of emotion. Wives tearfully cling to their husbands for the last time, knowing that they will soon be separated for who knows how long.

Sure enough, the men get their assignment after coming aboard an aircraft carrier. They will be paying a visit to Tokyo by air and the anticipation sets in even as the flyers all look a bit like fish out of water (on the water). Regardless, it becomes a perfect excuse to play up the camaraderie between the army and the navy away from the football field. They’ve got a job to do, and they’ll do it together.

Robert Mitchum and Van Johnson share a most curious conversation lounging on the prow of the boat, staring off into the darkness. One can only imagine it is screenwriter Dalton Trumbo speaking — not in propaganda but humanity.

First, Johnson offers up how his mom had a Jap gardener once who seemed like a nice fellow. Mitchum says he doesn’t like ’em, but he doesn’t hate ’em either. They agree you get mixed up sometimes. Where are they going with this meandering interchange?

The answer: Trumbo’s brand of what might be most precisely termed “American progressivism.” Some rationale must be proposed for what is at hand and so he does his best. Though it foregoes demonizing the enemy, it takes an alternative path with the same conclusion. It’s the most rational progression. Drop a bomb on them or they’ll be dropping a bomb on Ellen or loved ones like her. It’s highly practical even as it remains problematic.

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Still, the gears are turning. They have their final briefing with Doolittle and agree to meet in Chungking for the biggest party they’ve ever seen. In reality, the moment of truth really does feel like little more than thirty seconds. When they hit the mainland a flurry of Japanese Zeroes fly over, only to pass them by without notice, moving on with their normal patrol. It’s a lucky break.

They end up dropping their loads on the designated targets with efficiency. It’s the aftermath where things get a bit dicier, not so much due to the enemy but weather conditions. The Ruptured Duck is forced to bail out, sustaining injuries, and rescued by Chinese locals under bleak conditions.

Though poorly resourced and kept on the run by impending Japanese, the Chinese are held aloft as loyal Allies ready to aid in this joint cause against the Japanese. It becomes so intriguing how they become such sympathetic figures. Two close-ups come to mind. The Chinese characters are not kept at arm’s length. We are given a chance to study their faces. It’s maybe not a lot, but it’s something. The juxtaposition between the Chinese station versus the Japanese is made supremely obvious.

So while Thirty 30 Over Tokyo has understandably been lauded for a certain level of historical accuracy, there is still a necessity to parse through its stances as a cultural artifact. Like any film, it is a product of its times and a tribute to the minds behind it, whether Mervyn LeRoy or Dalton Trumbo. Each man no doubt had his own agenda, be it bugetary or ideological.

To that point, the picture is framed by a corny romantic crescendo that’s difficult to take seriously. Otherwise, it an intermittently rewarding portrait of a specific time in WWII history. It’s difficult to remake a movie such as this without losing some of its inherent credibility.

3.5/5 Stars

Ramrod (1947)

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Right away, in the very first moments, we know something’s amiss when the driver of a passing wagon notes to the woman at his side that they just passed her father…and they proceed to keep going without even a word of greeting.

It’s true that Ramrod is a riff on the age-old family feud but it involves several other men who are tied up in it too. Frank Ivey (Preston Foster) plays god where nothing and no one sees the light of day without his say so. Because remember these are the days when whoever had the most firepower and the ability to lean on others was king.

True, the sheriff (Donald Crisp) has a duty to uphold the peace but his jurisdiction and authority can only reach so far. One man against an entire posse doesn’t amount to much. Important to this story is that the old man from the opening scene, Ben Dickason (Charles Ruggles), has long sided in all of his affairs with Ivey. He’s even told his daughter to marry him and he does it again when the bully runs her latest beau out of town.

But Connie Dickason (Veronica Lake) is resolute and not about to let anyone push her around and so she decides to take the land bequeathed to her and try and make a go of it as a cattle rancher. She knows its an uphill battle in opposition to Ivey but one key to the enterprise is Dave Nash (Joel McCrea) who finds himself all of the sudden on the wrong side of Ivey as well. Now he has a reason to take up an offer from Connie becoming the ramrod of her outfit.

Soon he assembles a workforce including his pal Bill Schell (Don DeFore) to see the game through by legal means playing by the rules because the local sheriff is a buddy and Dave is not about to put his friend in a compromising position. He respects him too much. Others are not so valiant. For all intent and purposes, total war has begun.

First Connie’s homestead is razed to the ground, a cowhand is given a going over, and another man is gunned down in retaliation. Both sides have blood on their hands’ thanks to this eye for an eye mentality that continues to escalate matters. A herd of cattle is stampeded. The sheriff gets it for attempting to enact justice. Dominoes continue to tumble with each subsequent shotgun blast of malice.

Dave winds up as a fugitive for avenging his friend’s death by gunning down his purported killer. He finds himself wounded and trying to sneak past the searching eyes of Ivey. They manage to get him away to a secluded cave but even their his safety is put in jeopardy by — you guessed it — Connie Dickason. She has her meddling hands in many things.

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The one person who won’t let him down, despite a myriad of faults, is Bill and he devises a plan to draw the enemy away from his friend by acting as a decoy. The posse winds into the mountain crags to gun Dave down for good; they fail to comprehend who they are actually dealing with.

With her then-husband directing, it makes sense that the film provided a prominent berth for Lake. It’s a juicy role full of a mixture of innocent intentions and conniving. There’s absolutely no question about it; it’s another femme fatale role as she plays a “man’s game” by pitting all the men in her life against each other to get her way so she can pick up the pieces. In totality, it’s a nifty bit of maneuvering to get the desired results, successfully pouting her way to the top. But a curious counterpoint is Rose (Arlene Whelan) who is without question the guardian angel of the picture tugging at Daves heartstrings while Connie continually entangles him.

Retroactively it’s seamlessly easy to label this a noir-western sharing company with such hybrids as Pursued (1947) and Yellow Sky (1948). This breed of western is dark and brooding, concerned with psychological warfare as much as it is rough and tumble enforcement of justice. We half expect Ramrod to cram itself down our throats and it might as well with all that goes down.

The cast is steady with a plethora of recognizable character actors including Charles Ruggles and the diplomatic hand of Donald Crisp. Don DeFore as the bright-eyed ranch hand nevertheless knows how to hold a grudge with the best of them. You’ve never seen him so grungy. Lloyd Bridges fills a near bit part as a hot-headed heavy as usual while the scapegoat Virg is portrayed by Wally Cassell (Cassell lived to the ripe, old age of 103). With the reteaming of Lake and McCrea we had a reunion of Sullivan’s Travels (1941) and yet the reason it didn’t happen earlier was McCrea was not all that fond of his leading lady. By no means does that detract from this minor western success.

3.5/5 Stars

Too Late for Tears (1949)

Too_Late_for_Tears_DVDA couple is driving along a desert highway when a bag loaded full of cash is tossed into the back of their convertible by a passing motorist. They’re a pair of everyday nobodies and yet this single act of fate throws their entire existence into chaos. Of course, it gets a little leg up thanks to Jane Palmer (Lizabeth Scott) as she takes the wheel to get away with the cash, convincing her husband Alan (Arthur Kennedy) that they hold onto the payload for awhile. Finally, he relents and leaves the briefcase in a Union Station locker.

It’s a tad of an unbelievable scenario but that’s what makes it so exhilarating as Lizabeth Scott plays all parties involved using her doe eyes and feminine wiles to great effect like the foremost of femme fatatles that she is. And the fact that she does it both unwittingly and with willful intent is crucial to her turn for the very fact that it creates the seesaw of emotions.

There’s a certain sense of ambiguity because we begin to invest in her story and like her in one sense, while simultaneously distrusting her motives that seem mostly driven by avarice more than anything else. There’s also this extraordinary quality about her where she somehow manages to look young and feel old all at the same time thanks to her memorable baritone. It’s a bit unsettling.

The next important figure is Danny Fuller, Dan Duryea donning one of his sleazeball roles as a drunk who nevertheless has a bit of a sympathetic side at least put up against the acerbic poison of Lizabeth Scott. She’s the epitome of that long-held expression that greed is the root of all evil. If she didn’t write the book on it, she at least tore through its pages voraciously. Initially badgered by Danny for swiping the payoff he believes is rightfully his, she soon has him roped into her plan. It’s almost too much for the cad to bear. He calls her “Tiger” sardonically at first but he doesn’t realize how right he is.

But the most interesting setup in the narrative are the contrasting couples and they might not pair up the way you first expect with Arthur Kennedy getting the short end of the stick. He starts out happily married and winds up out of the picture.

There’s the rapacious Jane matched with Danny boy as they both feed into each other with their distrust and vices. Then you have the ever-present “Good Girl” or guardian angel,  Alan’s sister, Kathy (Kristine Miller), a sensible,  prepossessing young woman who only begins to distrust Jane as circumstances become more and more strained.

Meanwhile, Alan’s old war buddy (Don DeFore) comes a calling on his old pal and finds himself spending time with the man’s sister instead. But they become our necessary counterpoints to balance out the film’s more corrupt characters.

The final reveal that we’ve been waiting for arrives and it spells the end of Jane’s charade as she’s brought tumbling down. But as noir has a habit of doing, it manages to paint a bit of a happy ending against this dark backdrop with Kathy and Don winding up with each other and a shoulder to lean on. Still, that final image cannot quite downplay all the deceit and murder that has gone down up until now.

Too Late for Tears resonates thanks to a pair of incomparable sordid performances by Scott and Duryea. Miller and DeFore make a lovely couple but it’s the moneygrubbing ones who make this a true noir delight because they represent the incorrigible vices often found in humanity. That’s a lot more fun in the movies.

3.5/5 Stars

It Happened on Fifth Avenue (1947)

220px-happened5avenueThe fact that Miracle on 34th Street and this film came out the same year seems to suggest that there was something special in the air of New York City that year. It was a magical place, specifically during the Christmas season with Santa Claus going on trial and winning, while tramps helped reform millionaires. Admittedly, It Happened on Fifth Avenue is one of those films that could easily come under fire for its implausible plot, its unabashed sentiment, and any number of other things.

But if you have any amount of Christmas cheer at all, it’s overwhelmingly difficult not to enjoy this cheering story for what it offers up in the areas of heartwarming comedy and holiday spirit. There’s even a bit of misty-eyed sentimentality that’s sure to weaken the callous heart that’s ready to be melted.

And the story finds its roots in some very real issues. One is the housing crisis following the end of World War II with GIs flooding back into the country with families to raise and no jobs and no homes to be had. The situation further aggravated by the wage gap. The rich just seem to get richer, buying up all the land and resources in town,  namely the notorious John O’Connor — the second richest man in the world by latest figures shouted by passing tour guides on sightseeing buses. Ironically, in such an environment the panhandling community is especially strong and foremost among their ranks is sophisticated tramp Aloyisius McKeever (Victor Moore).

He migrates as the crow flies to Winter palaces and Summer getaways belonging to those in the affluent sectors of society. He has set up a bit of a revolving timeshare but you could say it only goes one way. None of his benefactors seem to know they are being so charitable and Mr. MeKeever does his best not to draw attention to himself. Letting himself in through fence boards, sneaking down through manhole covers, and setting up an elaborate trigger system to turn off all lights at the moments notice. In this way, he manages to live a rather comfortable life undetected in the boarded up estate of the aforementioned magnate John O’Connor.

Although he’s a rather peculiar character, a conniver and a bit of an opportunist, it should not go unsaid that he does have a conscience — a moral code if you will — that makes him increasingly compelling. Aside from his quirky ways, Aloysius McKeever is quite generous even if it involves someone else’s capital. Soon his great home that he is “borrowing” is filled with a few GIs and families including the drifting Jim Bullock (Don DeFore) who was thrown out of his apartment after Mr. O’Connor bought the land. Now with a place to gather himself, Jim has the seed of an idea — retrofitting old army barracks into track housing for returning GIs. The only problem is they need real estate, real estate being snapped up by the one in the same John O’Connor. You’ve probably gotten tired of hearing his name by now.

All of this would be unrelated if it weren’t for a girl who ran away from finishing school, Trudy O’Connor (Gail Storm). Her last name says it all already, and when she flees to seek asylum at her father’s  winter estate, she’s surprised to find it occupied. It makes for a funny scenario but rapidly she settles into the community and simultaneously falls in love with Jim.

At this juncture, Trudy asks her father for perhaps the biggest favor of her life — that he would play it her way — masquerading as another vagrant so that he can meet her love and not sway him to marry Trudy with the imminent promise of great wealth. And that’s the next enjoyment of the film, watching stuffy old Mr. O’Connor forced to be a guest in his own home, bossed around by Aloysius. But he’s not the only one out of sorts, Trudy’s mother (Ann Harding) also comes to live with them as a cook and this creates yet another complicating layer of wistful romance.

In the process, everyone learns something. There is a newfound appreciation for people and life. What it means to make an honest day’s wages. What it means to live for more than money. What it means to truly love someone so much that you don’t want to live a day without them. Even what it means to live in a caring community that looks to bless each other and share resources in such a way that no one is in need. I would even wager a bet that this is less socialism and more of what the early Christians talked about in Acts.

The film is blessed by some lovable, wonderfully comic performances from a couple great Hollywood actors, most notably Victor Moore and Charles Ruggles who highlight the storyline’s oddities. Meanwhile, some of the younger stars have winning charm that would translate into several solid careers in the growing medium of television. For some ready made feel-good Christmas magic, look no further than 5th Avenue.

3.5/5 Stars