In August 1939, the United States imposes a trade embargo on a belligerent Japan, severely limiting raw materials. Influential Japanese army figures and politicians push through an alliance with Germany and Italy in September 1940, despite opposition from the Japanese navy, and prepare for war. The newly appointed Commander-in-Chief of the Combined Fleet, Admiral Isoroku Yamamoto, reluctantly plans a pre-emptive strike on the U.S. Pacific Fleet anchored at Pearl Harbor, believing that Japan's best hope of controlling the Pacific Ocean is to quickly annihilate the American fleet. Air Staff Officer Minoru Genda is chosen to mastermind the operation while his old Naval Academy classmate Mitsuo Fuchida is selected to lead the attack.
Meanwhile, in Washington, U.S. military intelligence has broken the Japanese Purple Code, allowing them to intercept secret Japanese radio transmissions indicating increased Japanese naval activity. Monitoring the transmissions are U.S. Army Col. Bratton and U.S. Navy Lt. Commander Kramer. At Pearl Harbor, Admiral Kimmel increases defensive naval and air patrols around Hawaii, which could provide early warning of enemy presence. General Short recommends concentrating aircraft at the base on the runways to avoid sabotage by enemy agents in Hawaii, so General Howard Davidson of the 14th Pursuit Wing tries dispersing some planes to other airfields on Oahu to maintain air readiness.
Months pass while diplomatic tensions escalate. As the Japanese ambassador to Washington continues negotiations to stall for time, the Japanese fleet sorties into the Pacific. On the day of the attack, Bratton and Kramer learn from intercepts that the Japanese plan 14 radio messages from Tokyo to the Japanese embassy in Washington. They are also directed to destroy their code machines after receiving the final message. Deducing the Japanese will launch a surprise attack after the messages are delivered, Bratton tries warning his superiors of his suspicions, but encounters obstacles: Chief of Naval Operations Harold R. Stark is indecisive over notifying Hawaii without first alerting the President while Army Chief of Staff General George Marshall's order that Pearl Harbor be alerted of an attack is stymied by poor atmospherics that prevent radio transmission, and by bungling when a warning sent by telegram is not marked urgent. At dawn on December 7, the Japanese fleet launches its aircraft. Their approach to Hawaii is detected by two radar operators, but their concerns are dismissed by the duty officer. Similarly, the claim by the destroyer USS Ward to have sunk a Japanese miniature submarine off the entrance to Pearl Harbor is dismissed as unimportant. The Japanese thus achieve total surprise, which Commander Fuchida indicates with the signal "Tora! Tora! Tora!"
The damage to the naval base is catastrophic and casualties are severe. Several battleships are either sunk or heavily damaged. General Short's anti-sabotage precautions prove a mistake that allows the Japanese aerial forces to destroy aircraft on the ground easily. In Washington, Secretary of StateCordell Hull is stunned to learn of the attack and requests confirmation before receiving the Japanese ambassador. The message that was transmitted to the Japanese embassy in 14 parts – including a declaration that peace negotiations were at an end – was meant to be delivered to the Americans at 1:00 pm in Washington, 30 minutes before the attack. However, it was not decoded and transcribed in time, meaning the attack started while the two nations were technically still at peace. The distraught Japanese ambassador Kichisaburō Nomura, helpless to explain the late ultimatum and unaware of the ongoing attack, is rebuffed by Hull.
In the Pacific, the Japanese fleet commander, Vice-Admiral Chūichi Nagumo, refuses to launch a scheduled third wave of aircraft for fear of exposing his force to U.S. submarines. In the aftermath of the attack, General Short and Admiral Kimmel receive Marshall's telegram warning of impending danger. Aboard his flagship, Admiral Yamamoto informs his staff that their primary target – the American aircraft carriers – were not at Pearl Harbor, having departed days previously to search for Japanese vessels. Lamenting that the declaration of war arrived after the attack began, Yamamoto notes that nothing would infuriate the U.S. more and concludes: "I fear all we have done is to awaken a sleeping giant and fill him with a terrible resolve."
Cast
Note: Characters listed by rank in descending order
The North American T-6 Texan stood in for the Mitsubishi A6M Zero as there were no airworthy types at that time. Only Zeros from the carrier Akagi were depicted, identifiable by the single red band on the rear fuselage.Aichi D3A replica at the Geneseo Airshow. In 1968 a Vultee BT-13 Valiant (N56867) was converted to a Val replica for use in the filming of the movie Tora! Tora! Tora!, flown as Val "AI-244" from the carrier Akagi.Nakajima B5N replica modified from a T-6 for the movie Tora! Tora! Tora!A number of Curtiss P-40 Warhawkmockups were blown up during filming. This example, which was spared destruction, is currently on display at Wheeler Army Airfield, with markings identical to those of 2nd Lt George Welch.[9]Replica models like this 1⁄15 scale USS Nevada were used for the overhead shots of Battleship Row. The model survives today in Los Angeles and often appears at local parades.[10]
Veteran 20th Century Fox executive Darryl F. Zanuck, who had earlier produced The Longest Day (1962), wanted to create an epic that depicted what "really happened on December 7, 1941", with a "revisionist's approach". He believed that the commanders in Hawaii, General Short and Admiral Kimmel, though scapegoated for decades, provided adequate defensive measures for the apparent threats, including relocation of the fighter aircraft at Pearl Harbor to the middle of the base, in response to fears of sabotage from local Japanese. Despite a breakthrough in intelligence, they had received limited warning of the increasing risk of aerial attack.[1] Recognizing that a balanced and objective recounting was necessary, Zanuck developed an American-Japanese co-production, allowing for "a point of view from both nations".[11] He was helped out by his son, Richard D. Zanuck, who was chief executive at Fox during this time.
Production on Tora! Tora! Tora! took three years to plan and prepare for the eight months of principal photography.[11] The film was created in two separate productions, one based in the United States, directed by Richard Fleischer, and one based in Japan.[12] The Japanese side was initially to be directed by Akira Kurosawa, who worked on script development and pre-production for two years. However, after two weeks of shooting, he was replaced by Toshio Masuda and Kinji Fukasaku, who directed the Japanese sections.[12][13]Toshiro Mifune reportedly had been scheduled to play Yamamoto but withdrew when Kurosawa left the project.
Richard Fleischer said of Akira Kurosawa's role in the project:
Well, I always thought that even though Kurosawa was a genius at film-making and indeed he was, I sincerely believe that he was miscast for this film, this was not his type of film to make, he never made anything like it and it just wasn't his style. I felt he was not only uncomfortable directing this kind of movie but also he wasn't used to having somebody tell him how he should make his film. He always had complete autonomy, and nobody would dare make a suggestion to Kurosawa about the budget, or shooting schedule, or anything like that. And then here he was, with Darryl Zanuck on his back and Richard Zanuck on him and Elmo Williams and the production managers, and it was all stuff that he never had run into before, because he was always untouchable. I think he was getting more and more nervous and more insecure about how he was going to work on this film. And of course, the press got a hold of a lot of this unrest on the set and they made a lot out of that in Japan, and it was more pressure on him, and he wasn't used to that kind of pressure.[14]
Larry Forrester and frequent Kurosawa collaborators Hideo Oguni and Ryūzō Kikushima wrote the screenplay, based on books written by Ladislas Farago and Gordon Prange of the University of Maryland, who served as a technical consultant. Numerous technical advisors on both sides, some of whom had participated in the battle and/or planning, were crucial in maintaining the accuracy of the film. Minoru Genda, the man who largely planned and led the attack on Pearl Harbor, was an uncredited technical advisor for the film.[1]
Noted composer Jerry Goldsmith composed the film score and Robert McCall painted several scenes for various posters of the film.[16]
The carrier entering Pearl Harbor towards the end of the film was in fact the Essex-classaircraft carrierUSS Kearsarge, returning to port. The "Japanese" aircraft carrier was the anti-submarine carrier USS Yorktown, fitted with a false bow to disguise the catapults. The Japanese A6M Zero fighters and the somewhat longer "Kate" torpedo bombers or "Val" dive bombers were heavily modified Royal Canadian Air Force Harvard (T-6 Texan) and BT-13 Valiant pilot training aircraft. The large fleet of Japanese aircraft was created by Lynn Garrison, a well-known aerial action coordinator, who produced a number of conversions. Garrison and Jack Canary coordinated the actual engineering work at facilities in the Los Angeles area. These aircraft still make appearances at air shows.[17]
For the parallel filming in Japan, full-scale mock-ups of the Japanese battleship Nagato and aircraft carrier Akagi were built from the waterline up on shore, with about 90 feet (27 m) of their bows extending out over the ocean on stilts. These were used for much of the Japanese scenes on ship's decks. The one error introduced, however, was that the model Akagi's bridge was built on the starboard side instead of the port side. Only two Japanese carriers were built in this fashion, with bridges on the port side: Akagi and Hiryū. This was done because it was known that for the launching scenes filmed in the US, a US carrier would be used, and the islands of US carriers were always on the starboard side. A few of the modified aircraft were also converted in Japan for the flight scenes filmed there.
In preparation for filming, Yorktown was berthed at NAS North Island in San Diego to load all the aircraft, maintenance, and film crew prior to sailing to Hawaii. The night before filming the "Japanese" take-off scenes, she sailed to a spot a few miles west of San Diego, and at dawn the film crew filmed the launches of all the aircraft. Since these "Japanese" aircraft were not actual carrier-based aircraft, they did not have arresting gear with which to land back on the carrier and so continued on to land at North Island Naval Air Station. Yorktown sailed back to North Island and re-loaded the aircraft. She then sailed to Hawaii, where the aircraft were off-loaded and used to film the attack scenes in and around Pearl Harbor. Aircraft Specialties of Mesa, Arizona, performed maintenance on the aircraft while in Hawaii.[citation needed]
The actual crash landing of a Boeing B-17 Flying Fortress during filming, a result of a jammed landing gear, was used in the final cut.[18] The film crew received word that one of the B-17s could not lower its starboard landing gear, so they quickly set up to film the "single gear" landing. The aircraft stayed aloft to use up as much fuel as possible prior to landing, which gave the film crew some time to prepare. After viewing the "single gear" landing footage, they decided to include it in the movie. In the sequence depicting the crash, only the final crash was actual footage. For the scenes leading up to the crash, they manually retracted the starboard landing gear on a functioning B-17 and filmed the scenes of its final approach. After touching down on one wheel, the pilot simply applied power and took off again. The B-17 that actually landed with one gear up sustained only minor damage to the starboard wing and propellers and was repaired and returned to service. A total of five Boeing B-17s were obtained for filming. Other U.S. aircraft included the Consolidated PBY Catalina and, especially, the Curtiss P-40 Warhawk (two flyable examples were used). Predominantly, P-40 fighter aircraft were used to depict the U.S. defenders with a full-scale P-40 used as a template for fiberglass replicas (some with working engines and props) that were strafed and blown up during filming.[19] Fleischer also said a scene involving a P-40 model crashing into the middle of a line of P-40s was unintended, as it was supposed to crash at the end of the line. The stuntmen involved in the scene were actually running for their lives.[20] The B-17 crash along with several other scenes were reused in the 1976 film Midway.
With over 30 aircraft in the air, the flying scenes were complex to shoot, comparable to the 1969 film Battle of Britain where large formations of period-specific aircraft were filmed in staged aerial battles.[21] The 2001 film Pearl Harbor would use some of the same modified aircraft.[22]
Casting
The film was deliberately cast with actors who were not true box-office stars, including many Japanese amateurs, in order to place the emphasis on the story rather than the actors who were in it.[23]
Several members of the cast had themselves served in World War II.
USS Yorktown during the filming of Tora! Tora! Tora!, 1968.
Parts of the film showing the takeoff of the Japanese aircraft utilize an Essex-classaircraft carrier, Yorktown, which was commissioned in 1943 and modernized after the war to have a very slightly angled flight deck.[24] The ship was leased by the film producers, who needed an aircraft carrier for the film, and as Yorktown was scheduled to be decommissioned in 1970, the Navy made her available. She was used largely in the takeoff sequence of the Japanese attack aircraft. The sequence shows interchanging shots of models of the Japanese aircraft carriers and Yorktown. She does not look like any of the Japanese carriers involved in the attack, due to her large bridge island and her angled landing deck. The Japanese carriers had small bridge islands, and it wasn't until after the war that angled flight decks were developed.[25] In addition, during the scene in which Admiral Halsey is watching bombing practice, an aircraft carrier with the hull number 14 is shown. Admiral Halsey was on USS Enterprise, not the Essex-class carrier USS Ticonderoga, which would not be commissioned until 1944. This is understandable, however, as Enterprise and all six of the Japanese carriers from the attack had been scrapped or sunk.
In Tora! Tora! Tora!, an error involves the model of Japanese aircraft carrier Akagi. In the film, Akagi's bridge island is positioned on the starboard side of the ship, which is typical on most aircraft carriers. However, Akagi was an exception; her bridge island was on the port side of the ship. Despite this, the bridge section appeared accurately as a mirrored version of Akagi's real port-side bridge.[26] Secondly, all the Japanese aircraft in the footage bear the markings of Akagi's aircraft (a single vertical red stripe following the red sun symbol of Japan), even though five other aircraft carriers participated, each having its own markings. In addition, the markings do not display the aircraft's identification numbers as was the case in the actual battle. The white surround on the roundel on the Japanese aircraft was only used from 1942 onwards. Prior to this, the roundel was red only.[27]
USS Ward (DD-139) was an old "4-piper" destroyer commissioned in 1918; the ship used in the movie, USS Finch (DE-328), which portrays Ward, looked far different from the original destroyer.[28] In addition, in the movie, she fired two shots from her #1 gun turret. In reality, Ward fired the first shot from the #1 4-inch (102 mm) un-turreted gunmount and the second shot from the #3 wing mount.[29] The attack on the midget submarine by USS Ward was previously mentioned in the film In Harm's Way.
A full-scale set was built representing the stern section of a U.S. Navy Standard-type battleship showing two aft gun turrets each with three gun barrels. It was used to portray both USS Arizona and USS Nevada and other battleships. It was correct for USS Arizona but incorrect for USS Nevada, which had lower triple and upper twin gun turrets. The 1⁄15 scale model of USS Nevada used to portray the whole ship in wide shots displayed the fore and aft turrets accurately in a 3-2-2-3 arrangement. A lattice mast (or cage mast) section representing a Tennessee-class or Colorado-class battleship was built on the ground behind the full-scale stern set to give the appearance that the set was on Battleship Row. The USS Arizona/USS Nevada stern section set was used for the explosion that destroyed USS Arizona, although the explosion took place in the forward #2 magazine and Arizona's stern section remained essentially intact.
The film has a Japanese Zero fighter being damaged over a naval base and then deliberately crashing into a hangar. This is actually a composite of three incidents during the Pearl Harbor attack: in the first wave, a Japanese Zero crashed into Fort Kamehameha's ordnance building; in the second wave, a Japanese Zero deliberately crashed into a hillside after U.S. Navy CPO John William Finn at Naval Air Station at Kāneʻohe Bay shot and damaged the aircraft; also during the second wave, a damaged Japanese aircraft crashed into the seaplane tenderUSS Curtiss.[30]
During a number of shots of the attack squadrons traversing across Oahu, a white cross can be seen standing on one of the mountainsides. The cross was actually erected after the attack as a memorial to the victims.[31]
In the final scene, Admiral Isoroku Yamamoto says: "I fear all we have done is to awaken a sleeping giant". An abridged version of this quotation is featured in the 2001 film Pearl Harbor. The 2019 film Midway also features Yamamoto speaking aloud the "sleeping giant" quote. Although the quotation may well have encapsulated many of his real feelings about the attack, there is no printed evidence to prove Yamamoto made this statement or wrote it down.[32]
Release
The film had its world premiere on September 23, 1970, in New York, Tokyo, Honolulu and Los Angeles.[33]
Reception
Box office
At the time of its initial release, Tora! Tora! Tora! was thought to be a box office disappointment in North America,[34] despite its domestic box office of $29,548,291 making it the ninth-highest-grossing film of 1970.[35] It was a major hit in Japan, and over the years, home media releases provided a larger overall profit.[36][37] The film had earned ¥194.22 million in Japanese distributor rentals by 1971, becoming the sixth-highest-grossing film of 1971 in Japan.[38]
According to Fox records, the film required $37.15 million in rentals to break even, and had done so by December 11, 1970.[3]
On Rotten Tomatoes, the film holds a 57% rating based on 30 reviews. The site's consensus states: "Tora! Tora! Tora! is scrupulously accurate and lays out of the tragedy of Pearl Harbor with intricate detail, but the film's clinical approach to the sound and fury signifies little feeling."[6] On Metacritic it has a score of 46% based on reviews from 8 critics, indicating "mixed or average reviews".[39]
Roger Ebert gave the film one star and felt that Tora! Tora! Tora! was "one of the deadest, dullest blockbusters ever made" and suffered from not having "some characters to identify with." In addition, he criticized the film for poor acting and special effects in his 1970 review.[40]Vincent Canby, reviewer for The New York Times, was similarly unimpressed, noting the film was "nothing less than a $25-million irrelevancy."[41]Variety also found the film to be boring; however, the magazine praised the film's action sequences and production values.[42]Charles Champlin in his review for the Los Angeles Times on September 23, 1970, considered the movie's chief virtues as a "spectacular", and the careful recreation of a historical event.[7]
Despite the initial negative reviews, the film was critically acclaimed for its vivid action scenes and found favor with aviation aficionados.[5] However, even the team of Jack Hardwick and Ed Schnepf, who had been involved in research on aviation films, relegated Tora! Tora! Tora! to the "also-ran" status due to its slow-moving plotline.[5]
Several later films and TV series relating to World War II in the Pacific have used footage from Tora! Tora! Tora!. These productions include the films Midway (1976; in the Tora! Tora! Tora! DVD commentary, Fleischer expressed anger that Universal used the footage), All This and World War II (film 1976), Pearl (TV mini-series 1978), From Here to Eternity (TV mini-series 1979), The Final Countdown (1980), and Australia (2008) as well as the Magnum, P. I. television series episode titled "Lest We Forget" (first airdate February 12, 1981).[43]
In 1994, a survey at the USS Arizona Memorial in Honolulu determined that for Americans the film was the most common source of popular knowledge about the Pearl Harbor attack.[8]
Clark Collis of Empire gave the film three out of five stars, writing that the film "is high on historical veracity but low on drama".[44] In 2016, Cinema Retro released a special issue dedicated to Tora! Tora! Tora! which detailed the Blu-Ray release of the film. Stating that the film "has only grown in stature over the decades", it praises the attack sequences, calling them "quite spectacular", and commends the portrayal of the Japanese as "anything but ethnic stereotypes, which adds immensely to the impact of their side of the story". It also praises the "innovative, pulse-pounding" soundtrack.[45]
^Solomon, Aubrey. Twentieth Century Fox: A Corporate and Financial History (The Scarecrow Filmmakers Series). Lanham, Maryland: Scarecrow Press, 1989. ISBN978-0-8108-4244-1. p256
^Galbraith, Stewart. "Stuart Galbraith IV interview of Richard Fleischer." Tora! Tora! Tora! DVD commentary. Los Angeles: 20th Century Fox Home Entertainment Inc., 2001, Time stamp: 26:17–27:47.
^http://ww2f.com/threads/about-tora-tora-tora.16059/. Retrieved February 6, 2019. B-17G-110-VE, 44-85840, c/n 8749, the B-17 in question, was a converted water bomber that crashed fighting a forest fire in Nevada three years later.
Agawa, Hiroyuki. The Reluctant Admiral: Yamamoto and the Imperial Navy. Tokyo: Kodansha International, 2000. ISBN4-7700-2539-4.
Dolan, Edward F. Jr. Hollywood Goes to War. London: Bison Books, 1985. ISBN0-86124-229-7.
Galbraith, Stuart, IV. The Emperor and the Wolf: The Lives and Films of Akira Kurosawa and Toshiro Mifune. New York: Faber & Faber, Inc., 2002. ISBN0-571-19982-8.
Hardwick, Jack and Ed Schnepf. "A Viewer's Guide to Aviation Movies." The Making of the Great Aviation Films. General Aviation Series, Volume 2, 1989.
O'Hara, Bob. "Tora Tora Tora: A great historical flying film." Air Classics, Volume 6, No. 1, October 1969.
Carnes, Mark C. "Tora! Tora! Tora!" Past Imperfect: History According to the Movies. New York: Holt, 1996. ISBN978-0-8050-3760-9.
Orriss, Bruce. When Hollywood Ruled the Skies: The Aviation Film Classics of World War II. Hawthorn, California: Aero Associates Inc., 2014, first edition 1984. ISBN978-0-692-02985-5.
Parish, James Robert. The Great Combat Pictures: Twentieth-Century Warfare on the Screen. Metuchen, New Jersey: The Scarecrow Press, 1990. ISBN978-0-8108-2315-0.
Prange, Gordon. "Tora! Tora! Tora!" Reader's Digest, November 1963 and December 1963.
Shinsato, Douglas and Tadanori Urabe. For That One Day: The Memoirs of Mitsuo Fuchida, Commander of the Attack on Pearl Harbor. Kamuela, Hawaii: eXperience, inc., 2011. ISBN978-0-9846745-0-3.
.jpg)
.jpg)
_during_filming_of_Tora_Tora_Tora_movie_1968.jpeg)
