TWO STORIES - TWO FILMS

(this article appeared in the souvenir book of the movie published by Twentieth Century-Fox Film Corporation in 1970)

A north wind was blowing toward Hawaii the early morning of December 7, 1941, and on it rode the destinies of two nations, Japan and America. That keening wind raced with the wings of the Japanese Imperial Navy's warplanes and at 0755 hours bombs fell on the Island of Oahu.

Strangely enough, a cool, brisk, north wind was also blowing on the early morning of January 20.1969. when a fleet of anachronistic aircraft, bearing the Japanese insignia, appeared from nowhere and began "attacking" the Ford Island Naval Base at Pearl Harbor, strafing Wheeler and Hickam Fields, returning the nightmare to "battleship row" and to the island where almost thirty years earlier the "day of infamy" took place.

The planes came in low over the serene, silent monument that covers the USS Arizona, and dipped their wings in tribute to the rnen entombed there as colors sounded. This time, though, the planes were in the air to mark the opening photography of "Tora! Tora! Tora!" a film that would tell for the first time the story of the military men, the statesmen, and the events, of both sides, that led to that first day of war between these two nations.

As the 1941 attack itself represented an ultimate determination by Japan; and the retaliation represented an ultimate of will on the part of the American people — the retelling of this massive story now was indeed an ultimate in the annals of international filmmaking.

It was the first time that two former warring nations brought together the talents of their motion picture industries to make a film centered around the first battle in the war they had fought against each other...

So, uniquely, "Tora! Tora! Tora!" became two films, about two stories, about two sides, Japanese and American... blended into one huge historical canvas, unfolding chronologically from September 1939...

The Joint Effort ...

For several years, there was great skepticism within both American and Japanese film circles about the making of "Tora! Tora! Tora!" Yet, by summer of 1968, both governments looked favorably on the re-telling of these dramatic events and moments in history. Bitter enemies no longer, but allies in an uncertain world, they agreed that the monumental story of both sides should be told; that it contained great historical meanings for the future.

Perhaps Minoru Genda, the Japanese naval strategist who was given the assignment of planning the raid, summed it up best: "I would hope that we have all reached a level of intelligence, and understanding, where nations can treat history as it happened."

So, after months of international negotiation the Japanese motion picture industry joined with the American film industry to launch what was to be a precedent setting venture, one of the largest ever mounted, and certainly one of the most unusual.

Two separate films were made, one by a Japanese production unit, filmed in Japan, with Japanese technicans and a Japanese cast; the other, filmed by American technicians with an American cast. Completed, these two films were edited into a single production.

Initially, experienced production personnel on both sides of the Pacific viewed the project skeptically. Simultaneous filming by two separate and distinct companies on one story! Spread by thousands of miles! The great barrier of language! Different production methods! Different equipment!

Yet the known problems were always surpassed by the subject of the film story. The one common denominator was film; the singular effort on both sides was to get the "film into the can." And not unexpectedly, the solution to creative communication between Japan and America in the making of "Tora! Tora! Tora!" turned out to be visuals — six hundred and sixty-one sketches representing scenes to be shot by each side.

Telex systems between Kyoto, base of the Japanese operation, and Hawaii and then to Hollywood, tied the two production units together. A small American liaison group provided the day-by-day information necessary to coordinate activities of the twin efforts. Often, it was "lend-lease" with Japanese costumes air-freighted toward Hawaii or California; Panavision equipment jetting toward the Orient. Film shot in Ashiya took domestic air to Osaka, was developed in Kyoto, and soon was aboard JAL or Pan Am for the long flight to California; aerials over Pearl Harbor were expressed to Kyoto.

For everyone involved, it was a pathfinder operation, a first in film history, and it proved the "impossible" was very much possible after all.

Recreating and detailing the historical day and the tense political and military events preceding it became a staggering undertaking. The sheer size of the Tokyo to Washington mural, with its legendary cast of characters — and the agonizing span of time from September 1939 until that fateful Sunday morning — demanded a colossal effort that could be achieved only by the imaginative and technical skills brought into the project.

There were the American locations to capture: a jittery Washington, on half-a-war footing, caught between Hitler's Germany, waging a full scale war in Europe, and the continuing Japanese threats of war in Asia... the sleepy and partially alerted military installations in Hawaii... at such now historic sites as Wheeler and Hickam Fields; the Ford Island Naval Base and the ships in anchor there that morning, forming "battleship row" — the Nevada, Arizona, Vestal, Tennessee, West Virginia, Maryland, Oklahoma, Neosho, and the California . . . Schofield Bar­racks and the gun emplacements at Ewa . . . Kole Kole Pass, Barbers Point, Diamond Head, Waikiki. . . and the Aloha Tower...... the 33 American B-17's arriving from California that morning during the height of the attack . . . Admiral Halsey's carrier, the Enterprise, at sea . . .

Then there was the Japan of the time — Tokyo with its intricate political-military intrigue... and the vast physical aspects of the empire's military machine: the massive naval fleet in Tokyo Bay as Admiral Yamamoto assumed command; the recreation of the awesome battleship Nagato and carrier Akagi... the pilots as they trained for the attack, the huge task force as it assembled in Hitokapu Bay ... and the long stealthy voyage across the Pacific .... Finally the attack.

The figures of the time, so well known, posed problems in casting but the filmmakers in their pursuit of authenticity chose performers whose abilities as well as physical resemblances would faithfully portray such men as Admiral Husband Kimmel, Lt. Gen. Walter Short, Secretary of State Cordell Hull, General George C. Marshall, Secretary of War Henry Stimson; and such lesser known figures as the officers of the intelligence operation "Magic," Lt. Col. Bratton and Lt. Cdr. Kramer... and the many soldiers, sailors, airmen and marines who were caught in the attack.

On the Japanese side, it was a sensi­tive process to enlist from the stage and films some of that country's most noted actors to play such controversial figures as Admiral Yamamoto, Prince Konoye, General Tojo, Cdr. Genda, Lt. Cdr. Fuchida, Ambassadors Kurusu and Nomura.... In addition, hundreds of students became the pilots and seamen of the attack task force.

History makes its own dimensions — but often dictates harshly to those who set out to re-enact its pages....

The Sources...

With the exception of the Fourth of July, no date in American history has received more attention than that of December 7, 1941. Hundreds of books are devoted to the day that catapulted the United States into World War II.
In the opinion of the eminent historian, Samuel Morison, "no other day in the history of this nation so shaded otlr future courses, or affected so many lives for generations to come."

It might be said the sources for "Tora! Tora! Tora!" were the pages of history of both nations... the documentation that exists in many forms of the events and individual deeds on both sides. But the primary sources for the film were studies by two prominent historians who devoted years of painstaking research and probing of various aspects of the day.

"Tora! Tora! Tora!" by Dr. Gordon W. Prange is a monumental work that was more than 17 years in preparation. The author, a professor of history at the University of Maryland was head of the Pacific Theatre Historical Division (GHQ), Far East Command, in Tokyo from 1946 to 1949 under General MacArthur. During this assignment, and for many years afterwards, Prof. Prange probed deeply into the definitive story of Pearl Harbor from the Japanese side, poring over thousands of documents and interviewing almost every Japanese officer who played a significant part in the attack.

A second source was a work by Ladislas Farago. "The Broken Seal," with the subtitle, "Operation Magic and the Secret Road to Pearl Harbor." Representing years of meticulous research and study, this book revealed for the first time the story of Japanese and American code-cracking operations between 1921 and 1941 — a fascinating series of events which culminated in the tragedy of Pearl Harbor. This book provided the basis of the film's authentic portrayal of occurrences in Washington during the fateful weeks and hours before the attack.

For much of his life, Mr. Farago has been involved with the field of intelligence, both officially and unofficially. During World War II he was chief of research and planning in the office of U. S. Naval Intelligence. Among his seventeen books are "Behind Closed Doors" (in collaboration with Admiral Ellis M. Zacharias), "The Tenth Fleet," and "Patton — Ordeal and Triumph."

The screenplay for the American sequences was written by Larry Forrester, British journalist, novelist and screen­writer. During World War II, he flew in combat with the R.A.F. against the Japanese in Burma and Malaya. His works include the noted war biography, "Fly For Your Life," "Battle of April Storm," a sea story soon to be filmed; and the best selling "Fathom" novels.

Two of Japan's most highly respected screenwriters, Hideo Oguni and Ryuzo Kikushima, wrote the screenplay for the Japanese sequences. Among their credits are such classic films as "Seven Samurai," "Yojimbo," and "Throne of Blood."

With the credibility and integrity of these sources and talents, both the Japanese and American governments agreed to the production provided, of course, the ultimate screen treatment would stick to the facts.... Obviously a film of this scope could hardly have been possible without the counsel and cooperation of both Tokyo and Washington.

After almost three decades there are still many areas of controversy that surround Pearl Harbor. Many of the unanswered questions may remain unanswered for as many years to come.

The film does not presume to sit in judgment as to what happened. Rather, it was the aim of the filmmakers to recreate a slice of history faithfully and honestly by presenting the facts of the story as they are known to the two nations involved....

Elmo Williams, Producer

Producer Elmo Williams brings to "Tora! Tora! Tora!" a background of creative experience in virtually every phase of film-making.

It was this same long seasoning which led Darryl F. Zanuck to choose Williams as his key production executive for the massive and complex "The Longest Day," and again to select him as head of all 20th Century-Fox Euro­pean production from 1962 to 1966.

It's hardly a surprise, then, that Williams began his career in that ideal school of motion pictures — the cutting room. Before he left it, he won an Academy Award for the editing of "High Noon."

Following the highly successful story of D-Day, the invasion of France, Williams settled into his new post as head of European productions. He was executive producer of thirteen films, including "Those Magnificent Men in Their Flying Machines," "The Blue Max," "High Wind in Jamaica" and "Zorba, the Greek."

Williams returned to Hollywood in 1966 to begin preparation of "Tora! Tora! Tora!"

Richard Fleischer, Director

Recognized for his ability in the direction of spectacles Richard Fleischer firmly established credentials with such epics as "The Vikings," "20,000 Leagues Under the Sea" and "Barabbas.' He also proved to be a master of psychological drama with "The Boston Strangler" and "Compulsion," which won Cannes Film Festival Awards for its stars.

He won an Academy Award for one of his earliest efforts, a documentary entitled "Design for Death," and included in his credits are "Violent Saturday" and "The Happy Time."

In 1947, the rapidly rising director met Stanley Kramer and Carl Foreman and was hired to direct that team's first picture, "This is New York." It was a fine, off-beat film and launched Fleischer critically. One of Fleischer's most memorable accomplishments — "20,000 Leagues Under the Sea" — has been a phenomenal success, having grossed over $25,000,000 since its release in 1953.



- END-

A north wind was blowing toward Hawaii the early morning of December 7, 1941, and on it rode the destinies of two nations, Japan and America. That keening wind raced with the wings of the Japanese Imperial Navy's warplanes and at 0755 hours bombs fell on the Island of Oahu.

Strangely enough, a cool, brisk, north wind was also blowing on the early morning of January 20.1969. when a fleet of anachronistic aircraft, bearing the Japanese insignia, appeared from nowhere and began "attacking" the Ford Island Naval Base at Pearl Harbor, strafing Wheeler and Hickam Fields, returning the nightmare to "battleship row" and to the island where almost thirty years earlier the "day of infamy" took place.

The planes came in low over the serene, silent monument that covers the USS Arizona, and dipped their wings in tribute to the rnen entombed there as colors sounded. This time, though, the planes were in the air to mark the opening photography of "Tora! Tora! Tora!" a film that would tell for the first time the story of the military men, the statesmen, and the events, of both sides, that led to that first day of war between these two nations.

As the 1941 attack itself represented an ultimate determination by Japan; and the retaliation represented an ultimate of will on the part of the American people — the retelling of this massive story now was indeed an ultimate in the annals of international filmmaking.

It was the first time that two former warring nations brought together the talents of their motion picture industries to make a film centered around the first battle in the war they had fought against each other...

So, uniquely, "Tora! Tora! Tora!" became two films, about two stories, about two sides, Japanese and American... blended into one huge historical canvas, unfolding chronologically from September 1939...

The Joint Effort ...

For several years, there was great skepticism within both American and Japanese film circles about the making of "Tora! Tora! Tora!" Yet, by summer of 1968, both governments looked favorably on the re-telling of these dramatic events and moments in history. Bitter enemies no longer, but allies in an uncertain world, they agreed that the monumental story of both sides should be told; that it contained great historical meanings for the future.

Perhaps Minoru Genda, the Japanese naval strategist who was given the assignment of planning the raid, summed it up best: "I would hope that we have all reached a level of intelligence, and understanding, where nations can treat history as it happened."

So, after months of international negotiation the Japanese motion picture industry joined with the American film industry to launch what was to be a precedent setting venture, one of the largest ever mounted, and certainly one of the most unusual.

Two separate films were made, one by a Japanese production unit, filmed in Japan, with Japanese technicans and a Japanese cast; the other, filmed by American technicians with an American cast. Completed, these two films were edited into a single production.

Initially, experienced production personnel on both sides of the Pacific viewed the project skeptically. Simultaneous filming by two separate and distinct companies on one story! Spread by thousands of miles! The great barrier of language! Different production methods! Different equipment!

Yet the known problems were always surpassed by the subject of the film story. The one common denominator was film; the singular effort on both sides was to get the "film into the can." And not unexpectedly, the solution to creative communication between Japan and America in the making of "Tora! Tora! Tora!" turned out to be visuals — six hundred and sixty-one sketches representing scenes to be shot by each side.

Telex systems between Kyoto, base of the Japanese operation, and Hawaii and then to Hollywood, tied the two production units together. A small American liaison group provided the day-by-day information necessary to coordinate activities of the twin efforts. Often, it was "lend-lease" with Japanese costumes air-freighted toward Hawaii or California; Panavision equipment jetting toward the Orient. Film shot in Ashiya took domestic air to Osaka, was developed in Kyoto, and soon was aboard JAL or Pan Am for the long flight to California; aerials over Pearl Harbor were expressed to Kyoto.

For everyone involved, it was a pathfinder operation, a first in film history, and it proved the "impossible" was very much possible after all.

Recreating and detailing the historical day and the tense political and military events preceding it became a staggering undertaking. The sheer size of the Tokyo to Washington mural, with its legendary cast of characters — and the agonizing span of time from September 1939 until that fateful Sunday morning — demanded a colossal effort that could be achieved only by the imaginative and technical skills brought into the project.

There were the American locations to capture: a jittery Washington, on half-a-war footing, caught between Hitler's Germany, waging a full scale war in Europe, and the continuing Japanese threats of war in Asia... the sleepy and partially alerted military installations in Hawaii... at such now historic sites as Wheeler and Hickam Fields; the Ford Island Naval Base and the ships in anchor there that morning, forming "battleship row" — the Nevada, Arizona, Vestal, Tennessee, West Virginia, Maryland, Oklahoma, Neosho, and the California . . . Schofield Bar­racks and the gun emplacements at Ewa . . . Kole Kole Pass, Barbers Point, Diamond Head, Waikiki. . . and the Aloha Tower...... the 33 American B-17's arriving from California that morning during the height of the attack . . . Admiral Halsey's carrier, the Enterprise, at sea . . .

Then there was the Japan of the time — Tokyo with its intricate political-military intrigue... and the vast physical aspects of the empire's military machine: the massive naval fleet in Tokyo Bay as Admiral Yamamoto assumed command; the recreation of the awesome battleship Nagato and carrier Akagi... the pilots as they trained for the attack, the huge task force as it assembled in Hitokapu Bay ... and the long stealthy voyage across the Pacific .... Finally the attack.

The figures of the time, so well known, posed problems in casting but the filmmakers in their pursuit of authenticity chose performers whose abilities as well as physical resemblances would faithfully portray such men as Admiral Husband Kimmel, Lt. Gen. Walter Short, Secretary of State Cordell Hull, General George C. Marshall, Secretary of War Henry Stimson; and such lesser known figures as the officers of the intelligence operation "Magic," Lt. Col. Bratton and Lt. Cdr. Kramer... and the many soldiers, sailors, airmen and marines who were caught in the attack.

On the Japanese side, it was a sensi­tive process to enlist from the stage and films some of that country's most noted actors to play such controversial figures as Admiral Yamamoto, Prince Konoye, General Tojo, Cdr. Genda, Lt. Cdr. Fuchida, Ambassadors Kurusu and Nomura.... In addition, hundreds of students became the pilots and seamen of the attack task force.

History makes its own dimensions — but often dictates harshly to those who set out to re-enact its pages....

The Sources...

With the exception of the Fourth of July, no date in American history has received more attention than that of December 7, 1941. Hundreds of books are devoted to the day that catapulted the United States into World War II.
In the opinion of the eminent historian, Samuel Morison, "no other day in the history of this nation so shaded otlr future courses, or affected so many lives for generations to come."

It might be said the sources for "Tora! Tora! Tora!" were the pages of history of both nations... the documentation that exists in many forms of the events and individual deeds on both sides. But the primary sources for the film were studies by two prominent historians who devoted years of painstaking research and probing of various aspects of the day.

"Tora! Tora! Tora!" by Dr. Gordon W. Prange is a monumental work that was more than 17 years in preparation. The author, a professor of history at the University of Maryland was head of the Pacific Theatre Historical Division (GHQ), Far East Command, in Tokyo from 1946 to 1949 under General MacArthur. During this assignment, and for many years afterwards, Prof. Prange probed deeply into the definitive story of Pearl Harbor from the Japanese side, poring over thousands of documents and interviewing almost every Japanese officer who played a significant part in the attack.

A second source was a work by Ladislas Farago. "The Broken Seal," with the subtitle, "Operation Magic and the Secret Road to Pearl Harbor." Representing years of meticulous research and study, this book revealed for the first time the story of Japanese and American code-cracking operations between 1921 and 1941 — a fascinating series of events which culminated in the tragedy of Pearl Harbor. This book provided the basis of the film's authentic portrayal of occurrences in Washington during the fateful weeks and hours before the attack.

For much of his life, Mr. Farago has been involved with the field of intelligence, both officially and unofficially. During World War II he was chief of research and planning in the office of U. S. Naval Intelligence. Among his seventeen books are "Behind Closed Doors" (in collaboration with Admiral Ellis M. Zacharias), "The Tenth Fleet," and "Patton — Ordeal and Triumph."

The screenplay for the American sequences was written by Larry Forrester, British journalist, novelist and screen­writer. During World War II, he flew in combat with the R.A.F. against the Japanese in Burma and Malaya. His works include the noted war biography, "Fly For Your Life," "Battle of April Storm," a sea story soon to be filmed; and the best selling "Fathom" novels.

Two of Japan's most highly respected screenwriters, Hideo Oguni and Ryuzo Kikushima, wrote the screenplay for the Japanese sequences. Among their credits are such classic films as "Seven Samurai," "Yojimbo," and "Throne of Blood."

With the credibility and integrity of these sources and talents, both the Japanese and American governments agreed to the production provided, of course, the ultimate screen treatment would stick to the facts.... Obviously a film of this scope could hardly have been possible without the counsel and cooperation of both Tokyo and Washington.

After almost three decades there are still many areas of controversy that surround Pearl Harbor. Many of the unanswered questions may remain unanswered for as many years to come.

The film does not presume to sit in judgment as to what happened. Rather, it was the aim of the filmmakers to recreate a slice of history faithfully and honestly by presenting the facts of the story as they are known to the two nations involved....

Elmo Williams, Producer

Producer Elmo Williams brings to "Tora! Tora! Tora!" a background of creative experience in virtually every phase of film-making.

It was this same long seasoning which led Darryl F. Zanuck to choose Williams as his key production executive for the massive and complex "The Longest Day," and again to select him as head of all 20th Century-Fox Euro­pean production from 1962 to 1966.

It's hardly a surprise, then, that Williams began his career in that ideal school of motion pictures — the cutting room. Before he left it, he won an Academy Award for the editing of "High Noon."

Following the highly successful story of D-Day, the invasion of France, Williams settled into his new post as head of European productions. He was executive producer of thirteen films, including "Those Magnificent Men in Their Flying Machines," "The Blue Max," "High Wind in Jamaica" and "Zorba, the Greek."

Williams returned to Hollywood in 1966 to begin preparation of "Tora! Tora! Tora!"

Richard Fleischer, Director

Recognized for his ability in the direction of spectacles Richard Fleischer firmly established credentials with such epics as "The Vikings," "20,000 Leagues Under the Sea" and "Barabbas.' He also proved to be a master of psychological drama with "The Boston Strangler" and "Compulsion," which won Cannes Film Festival Awards for its stars.

He won an Academy Award for one of his earliest efforts, a documentary entitled "Design for Death," and included in his credits are "Violent Saturday" and "The Happy Time."

In 1947, the rapidly rising director met Stanley Kramer and Carl Foreman and was hired to direct that team's first picture, "This is New York." It was a fine, off-beat film and launched Fleischer critically. One of Fleischer's most memorable accomplishments — "20,000 Leagues Under the Sea" — has been a phenomenal success, having grossed over $25,000,000 since its release in 1953.

- END-

Click here if navigation bar is not visible on the left