“This is sort of a blind date. We’ll just have to wait and see what happens.” – Cary Grant as Captain Cassidy
No pretense can be made to suggest Destination Tokyo functions as an original entry of a “men on a mission movie” from a couple decades later. For one thing, Cary Grant doesn’t strike one as the soldiering type. He’s not Lee Marvin or Charles Bronson.
However, it must have worked on at least one kid. Years later Tony Curtis would recount how he saw the picture in theaters and the images of Grant looking through the periscope inspired him to enlist (and maybe become an actor).
He ultimately realized both aspirations — even starring with his hero in the Blake Edward’s comedy Operation Petticoat, which ironically, is set aboard a submarine! In Destination Tokyo, Grant is more business but an amiable skipper nonetheless, with a family waiting for him back home. Still, he’s more than prepared to face the task at hand.
Although they are not much of a secret, thanks to the built-in spoiler in the title, Captain Cassady (Grant) waits the designated 24 hours into their excursion before opening their orders. Obviously, they’re headed to Tokyo. They are also required to pick up a package en route: a meteorologist named Raymond (John Ridgely).
What the film does well is creating an ecosystem for characters to be empathized with because once we have the framework of the task at hand, we can readily spend our time getting to know the men onboard.
There always must be the callow recruit and this story is no different with Tommy Adams (Robert Hutton) stepping into the role. Meanwhile, John Garfield has a fine time hamming it up as the spirited Wolf enthralling the stir-crazy crew with his exploits with the fairer sex. His active imagination fuels their own hopes and dreams about sweethearts all across the sea, whether they exist or not.
Dane Clark readily complies to the rank and file with his own average G.I. Joe, “Tin Can,” an equally spirited Greek-American intent on getting his chance to make the “Japs” pay. Alan Hale, always counted on for comic relief, is little different here as the bubbly chef Cookie doing his best not to clang pans when they’re diving deep to evade the enemy.
Otherwise, he’s a handy fill in for Santa Claus for a Christmas spent 20,000 leagues under the sea, metaphorically speaking, of course. For someone like Adams, this is his first Christmas away from his family and the accordion accompanied quartet singing out “O Little Town of Bethlehem,” and a few other yuletide favorites is a much-appreciated touch of home.
The crew begins to truly feel the weight of circumstance when a pair of Japanese zeroes come upon them on the seas. They let ’em have it with their anti-aircraft deck guns firing into the sky.
One curious stylistic choice is to actually show the enemy pilots raining hell down on them. It hardly feels like an empathetic turn, however, and more of an easy way to label them. If you see someone like this, know they’re the ones doing injustices against us. We’ve got to stick it to them whatever the cost. It becomes more blatantly clear only minutes later. They’re backstabbers.
In a film with an understandable but generally misguided sense of Japanese culture, it does become an intriguing task to begin to unwrap the ideologies being promoted. One cannot quickly forget this is propaganda meant to mobilize mom, dad, and everyone else back at home. It makes it easier to comprehend how ignorance and general misconceptions can be so widely propagated.
Delmer Daves would soon become well-versed in these kinds of wartime tales from The Very Thought of You to Hollywood Canteen and The Pride of The Marines. One can note actors like John Garfield, Dane Clark, and John Ridgely readily being recycled throughout. However, to its credit, instead of merely painting all Japanese people as terrors, it frames them as victims of a broken system of government.
The token metaphor alighted on are roller skates — those vehicles of carefree child-like recreation — we need more rollerskates in this world including the next generation of Japanese kids. Because it’s a far better alternative than more international conflict.
In the most harrowing interludes, the crew of the USS Copperfin surreptitiously sneak into the minefield of Tokyo Bay under the cloak of an oblivious enemy cruiser. They squeak past the enemy netting and hold their breath as they move into the heart of enemy terrain. Their covert mission continues with three men, including Wolf, going ashore to undertake reconnaissance. It feels somewhat eery for the very reasons two years later nearby locales would be absolutely obliterated by Big Boy and Fat Man.
The balance of the human drama with wartime objectives remains the film’s greatest strength. It’s not all pulse-pounding action necessarily, but it maintains interest through the investment in its characters over the long haul.
An unexpected complication involves an impromptu appendicitis operation. A former pharmacist student, not formally trained as a surgeon, is given the unpleasant task of removing the burst organ based on the written procedures in a textbook. Meanwhile, on land, Tokyo Rose jeers the Allies only for our protagonists to send vital weather reports over the radio to waiting Allied receivers. This entire operation is purportedly under the nose of oblivious Japanese operatives.
The most laughable reaction comes from an incredulous Garfield, “If the Japs pick it up, they’ll think it’s one of their own guys.” He didn’t take into account how stifled John Ridgely’s pronunciation sounds. My Japanese is abysmal, but it doesn’t take a linguistic genius to know he’s probably never spoken a lick of Japanese in his life. But I digress.
The return trip is fraught with bombardment from above as the Japanese get wise and in the ensuing pursuit, the sub gets hammered. The situation is dire with the interior leaking and filling up with water. It’s all hands on deck just to bail them out.
However, when the proverbial fog clears, miraculously, they’ve got off scot-free. The next prominent landmark they see is the Golden Gate Bridge, and it triggers all their fluffy feelings of Americana. After being in foreign waters, the relief of being back home in the good ol’ U.S.A is too great to pass up. As an American who has lived for an extensive period of time in Tokyo, somehow I can relate, though for very different reasons. There’s no place like home.