Another movie I stumbled across via Netflix, Red Cherry is a movie along the lines of an epic—minor people swept up in major events.  In this case its two Chinese orphans (Communist kids whose parents were eliminated by the Nationalists).  They find refuge in Soviet Russia until the Germans invade in 1941.  The Chinese boy and girl get separated—one under Uncle Stalin, the other under Uncle Adolf.  Talk about a tough childhood.

The movie is produced by the Chinese Youth Film Institute.  And for a Red movie it has (beyond obvious political angles) some rather shocking cinematic given that is a feature film and a Chinese Communist at that.  Highly recommended and highly charged, it won’t please everyone and will disgust some.  But war and kids are tragic tragedies–to be faced or at least understood.

Czech cinema has the middle European continental flair that is similar to French, but with the exuberance of Italian.  Divided We Fall is an award winning World War 2 movie that is strangely suburban despite all that is going on in the world.  The story is about different neighbors facing different challenges and aspirations in a quirky (some would say staged) series of interconnected random events.  Loyalty and lust, propaganda and pregnancy, lies and forgiveness all interplay.  No high drama here.  This is almost comedic as mundane choices have life altering affects.  This is a cerebral movie–multiple watchings may be in order—but there is charm even in the darkest of times.  And that alone is inspiration enough to mark it for watching.

Late night weekend TV in the 1970’s had classics–film noir and such from the 1930s to the 1960s.  Among the movies seen were So Proudly We Hail, Bataan, A Night at The Opera, and Flying Tigers.

Flying Tigers is classic propaganda as classic history in film.  As a kid I saw it as gospel truth and right up to the 1990’s The American (Gothic) Myth was to be respected. not questioned.  Alas there is a whole litany of “ifs, ands, buts, and you would not believe” in this film.

Before getting out the machette, let me say that the film is cool, neat, and awesome now and way back when—a timeless example of guts and glory, both an inspiration and public manipulation.

The story, and the myth (for some still the truth), is about a ragtag bunch of mercenary American fliers defending poor, helpless China from the nasty Japs in the days before Pearl Harbor and America’s forced entry into World War 2.  Typically John Wayne is the lead leader.  There is the blond love interest and some reckless swashbuckling underlings.

First let’s blast the myth.  True the Flying Tigers did exist.  The Americans were the last of many nationalities (including Russians and Germans!!!) who over the years were “the Chinese air force” despite half a billion Chinese as a flight candidate pool—such were things in the Middle Kingdom.

Unhappily despite being trumpted as “fighting Japs before America got into war”, the Tigers were actually one of the last to get into the fray.  Not until December 20, 1941 were shots first fired.  That is just about a  full two weeks after Pearl Harbor.  To add to the blush, the Tigers were still organizing in Burma when the war came.  Lots of confusion resulted in lost equipment, further surprise attacks visited upon the Tigers, and not enough coordination with the ruling British who had been at war since 1939.

Were the Tigers an inspiration? Did they keep the hope alive in Asia?  Yes on both accounts.  Much portrayed did happen–like the ruthless bombing of citizens.  Unfortunately the Allies picked up such nasty habits.

Beyond the above I recently noticed the apparent similarity to another movie.  Picture a far off place with exotic names as exotic as Hong Kong, Rangoon, Kunming, and Lashio was for the folks in the 1940s.  Also picture a titanic struggle against an evil empire with a pitiful band of brave fliers.  Add such phrases as “attacking the bridge with bombers would get slaughtered, but with single fighters”.  Figure the hotshot loser comes back to save the day.  Smells lots like Star Wars.  Even the final scene has rousing music just like the final scene in Star Wars.  Yes, it is different—but more similar if you follow the logic. Give both movies a see.

When I first started this blog, I wrote a post called “They should have known” about the portrayal of Nazi concentration camps prior to their “discovery” at the end of World War 2.  Imaginary Witness explores Hollywood and the Holocaust both before and after.  Like anything Holocaust related, the subject matter is heavy, dark, and disturbing.

I found that this documentary danced about the responsibility question (and did not even make mention of the movies I commented upon).  Much time and effort was devoted to post-war portrayals–all well and good–but not tackling the before and during phases.

The documentary gave a glancing nod to “the American Holocaust” by refering to the miniseries “Roots“.  I found that token case of  home made holocaust misleading.  The 130 years of shooting wars against Indians more fits the genocide model than the years of slavery and oppression.

But given the strength, power, and influence of the Holocaust Publicity Machine–the Holocaust is pretty much a propriety trademark as well as vast human tragedy.

This is a movie to see.  The message is clear, even if garbled in its own nuanced way.  This is a turning point as portrayals went from in your face horror (1945) to never forget (1970s) to deeper reflection (today) where little details–like US anti-Jewish actions—were before silently excused, respectfully omitted, and repeatedly forgotten in Holocaust portrayals.

The movie that defines comedy-adventure, Kelly’s Heroes mixes action, and intrigue from the front line perspective.  Directed by Brian Hutton who worked with Clint Eastwood on Where Eagles Dare and produced in the spirit of the foul mouthing Dirty Dozen, this concerns yet again another “behind the lines” escapade.  This time around a demoted officer talks a platoon of war weary GIs to steal thousands of bars of gold.

When I first saw it in the 1970’s it was a straight war movie.  Later, as I aged, I listened closer to the dialogue.  Therein were themes of war and peace that Big Joe (Telly Savalas) faced–desertion, dereliction of duty, corrupt and incompetent leaders, friendly fire, outright theft.

(During World War 2, after D-Day, the Western allies had a fantastic suppy service that was also equally corrupt—a snippet seen in Kelly’s Heroes)

Many talented actors beyond the big names grace the movie like Stuart Margolin, Gavin McLoed,  and Jeff Morris.  Finally the theme song is a rousing piece of work which plays at the beginning and end of the movie.

Produced at the insistence of Burton’s kid who wanted Pappy to do another adventure movie, Where Eagles Dare is the type of movie from the 60’s that is as good as it got back then.  There is a first rate cast–beyond Burton and Eastwood.  James Clavell and Alistair McLean developed the sharp script.  The film was shot on location and in winter.  The plot is cool, steadily developed with a top notch climax–Burton’s best in my opinion–and a fine postclimax.  Mary Ure and Ingrid Pitt are classy eye candy as well as smart ladies.  I still remember seeing it as a kid in the 1970’s for the first time.  Even in India (1987) I caught it—seeing snow was cool in the heat of Vizag.

A chick flick and an action war movie in one.  Made in World War 2 for propoganda purposes, this story of feminine valor in the face of terrible odds has been on the old late night TV circuit before VHS and DVD took over.

The story is narrated by one of the nurses who describes their journey from San Fransisco to Australia.  War breaks out mid-ocean and soon the girls are at Bataan trying to heal the Battling Bastards.  Led by the ever great Claudette Colbert, they struggle against an ever darkening situation.

Most heart wrenching is the helter-skelter evacuation from Bataan. 

The cast includes Olivia deHaviland and Yvonne deCarlo and a great many other greats.  This movie was made back when going to war meant having everyone on board.

The Italians got short shrift out of World War 2–they picked the losing side, they had an indifferent to depressing war record, and their homeland became a battlefield.  But that is far from the full story.  Many Italians fought bravely and with some flashes of brilliancy.  The intelligence services in some instances out did all others.  Finally many Italians had the moral compassion to protect Jews from the Nazi grip,

Anyway El Alamein is a recent movie of an Italian unit in the Western Desert with parallels to the movie Platoon.  These Italians know they are cannon fodder for the more prestigious Afrika Corp, yet dutifully go about their business despite heat, flies, poor food, lousy equipment and so on.  The story follows the path of history fairly well.  The most poignant scene comes at the end where an unnamed person walks through a mausoleum listing the war dead.  This movie is highly recommended as an anti-war war movie–showing the human cost of war.

This movie has movie greats Christopher Plummer and Gregory Peck.  They play opposites in a moral and ethical struggle set in Italy 1943-1944. Plummer the evil Gestapo police chief is attempting to round up Jews, POWs, and refugees.  Peck, playing an Irish activist priest at the Vatican, works for the opposite goals.  The role of the Vatican’s neutrality is explored.

Although the movie is in the “made for TV” format (with annoying fade-in and fade-outs), the historically accurate movie has fine acting and on location cinematography. This is must see for Plummer or Peck fans.  But it gets high marks for suspense, ethical tightrope walking, and all around classy product (some violence).

Set in the closing days of World War 2, in a way mirroring the movie Cuckoo, again three very different people, from very distinct backgrounds, with prejudices and presumptions in hand, find themselves lost in the final fits of the horrific convulsions known as World War 2.  No clear lines here.  While adjusting to their new reality, they must face nature and the intrusive touch of the wider war.  This is a fine hidden gem.