“… this is probably the granddaddy of all product placement movies, far more egregious than even Joan Crawford’s conspicuous scattering of Pepsi bottles in Strait Jacket …”
From 1964: A somewhat strange concoction, The Yellow Rolls Royce is a star-studded anthology, a look at the life of, well, a yellow Rolls Royce Phantom during the 1930s and 40s.
“One Rolls-Royce belongs to three vastly different owners, starting with Lord Charles, who buys the car for his wife as an anniversary present. Another owner is Paolo Maltese, a mafioso who purchases the car during a trip to Italy and leaves it with his girlfriend while he returns to Chicago. Later, the car is owned by American widow Gerda, who joins the Yugoslavian resistance against the invading Nazis.”
The New York Times reviewer A.H. Weiler wasn’t terribly kind to this “assembly line job.” He wrote on 14-May-65:
“… ‘The Yellow Rolls-Royce,’ which arrived yesterday at the Music Hall fresh from Metro-Goldwyn-Mayer’s European works, performs, despite its color, opulence and surface polish, largely like an assembly-line job. It is, it should be stressed, a pretty slick vehicle, that is pleasing to the eye and occasionally amusing, but it hardly seems worthy of all the effort and the noted personalities involved in the three glossy but superficial stories that make up this shiny package. One is reminded of the now classic Rolls-Royce advertising slogan, “The loudest noise comes from the clock.”
“‘The Yellow Rolls Royce’ may be a rich, handsome, colorful vehicle. But, aside from its varied passengers, it simply indicates that the Rolls can be pretty rough on romance.”
The New York Times
The most enjoyable part of this vehicle (see what I did there?) is probably the Shirley MacLaine/Alain Delon/George C. Scott/Art Carney story. Scott is a Capone-style 20s gangster, MacLaine is his gun moll, and Delon is her seducer, while Carney gets to drive his boss and the moll around and keep tabs on what Delon is up to while sightseeing in the Rolls. I said enjoyable, but probably meant amused.
TCM accompanied this showing with a short shown in theaters at the time extolling the virtues of the Rolls Royce and its appearance in the forthcoming film. This makes it seem that Rolls Royce had paid millions for a movie-length advertisement, and that’s not far off the mark. There is an attempt to focus on the stories in the anthology, but that yellow car is always in at least the background, ubiquitous.
In other words, this is probably the granddaddy of all product placement movies, far more egregious than even Joan Crawford’s conspicuous scattering of Pepsi bottles in Strait Jacket (see below). The Yellow Rolls Royce is worth watching for the performances of the greats of the Golden Age’s transition into … whatever we call what came once the Golden Age was dead … but the value probably ends there. I gave it four stars simply for those performances by those greats; there’s not much more to it than those, sadly.
Mae Jenkins: [Looking indifferently at the leaning tower of Pisa] “So it leans. So a lot of things lean.” Paolo Maltese: [Turning to Mae] “You ever heard of Galileo, maybe?” Mae Jenkins: “Sure I have heard of Galileo.” Paolo Maltese: [Turning to Joey] “She ever heard of Galileo?” Joey Friedlander: “Nah …” Paolo Maltese: “Five-six hundred years ago, this Galileo dropped two stones off that tower, one big one, and one little one.” Mae Jenkins: “So?” Paolo Maltese: “So he proved the law of gravity or somethin’. I don’t know.” Mae Jenkins: “And brained a couple of citizens, maybe. Big deal.”
The Yellow Rolls Royce
Paolo Maltese: “And this is the girl, my fidanzata, that I am bringing home to meet my folks. Of all the women in the whole world that I can choose from to be my wife, who do I choose? An ignorant slob of a hatcheck girl who thinks Pisa – Piazza del Duomo in Pisa, Joey – is a stopping-off place between hamburger joints.”
The Yellow Rolls Royce. 1964. TCM. English. Anthony Asquith (d). Terence Rattigan (w). Ingrid Bergman, Rex Harrison, Shirley MacLaine, Jeanne Moreau, George C. Scott, Omar Sharif, Alain Delon, Art Carney, Joyce Grenfell, Edmund Purdom, Wally Cox. (p). Riz Ortolani (m). Jack Hildyard (c).
“Basically, amoral social climber from poor background seduces poor factory girl, gets her pregnant, wants to marry a rich socialite and so kills poor factory girl by smashing her in the head with his tennis racket and dumping her body in a lake, fakes a canoe accident, trips self up by being basically an idiot, dies in electric chair after mercy is refused by Governor Charles Evans Hughes.”
[Phillips Holmes in An American Tragedy, realizing he really does hate that grasping little factory girl and would be much happier drowning her.]
From 1931: «An American Tragedy» with Phillips Holmes, Sylvia Sidney and Frances Dee. The first cinematic adaptation of Theodore Dreiser’s novel of the same name, it was eventually remade as a more famous film in 1951 starring Montgomery Clift, Shirley Winters and Elizabeth Taylor: A Place in the Sun.
But this version has much to recommend it. Except the sound. The sound is like what Singin’ in the Rain was parodying. Sound in motion pictures wasn’t yet refined, so everything in the pic, especially background noise, is loud and excruciating. In the courtroom scene when the D.A. pounds his fist on the bannister in front of the accused, the resounding thuds shook the walls. Meanwhile, whole sections of dialogue were hard to pick up. Just a quibble.
“A social climber charms a debutante, seduces a factory worker and commits murder.”
“An American Tragedy was remade in 1951 with Montgomery Clift in the role played here by Holmes but, while this version isn’t without its faults (which are due more to its age rather than any inherent flaws). it’s far superior to the Clift version, even though Griffith (or Eastman, as he was called in the later version), is a much more sympathetic character in the second movie. Holmes’s version is selfish and manipulative, and yet we never entirely lose some level of sympathy for him. Deep down he’s not a bad person, but he falls victim—like Roberta—to his own cowardice and weakness of character. These character flaws are gradually and painfully exposed during the trial, a lengthy sequence which was once one of the film’s strengths but which appears a little far-fetched and overacted today. The grandstanding acting style of Charles Middleton (Flash Gordon’s nemesis, Ming the Merciless) and Irving Pichel is a real drawback which isn’t helped by the way Samuel Hoffenstein’s screenplay call upon them to almost engage in fisticuffs. Overall though, An American Tragedy stands up well for its age.”
Dreiser’s work, and therefore the two films, was based on the real life murder of «Grace Brown by Chester Gillette» in an upper New York lake on 11-Jul-1906. Basically, amoral social climber from poor background seduces poor factory girl, gets her pregnant, wants to marry a rich socialite and so kills poor factory girl by smashing her in the head with his tennis racket and dumping her body in a lake, fakes a canoe accident, trips self up by being basically an idiot, dies in electric chair after mercy is refused by Governor Charles Evans Hughes.
Both movie versions were faithful to the book and real life, as far as these things go. The real life event could stand the Erik Larson deep dive nonfiction treatment, to see how and where Dreiser departed from events. For the 1931 film, Holmes manages to make you want to both hug him and strangle him. Sadly, Holmes’ extensive career, including an appearance in the Our Gange feature General Spanky, came to an end thanks to World War II. He had just completed flight training in the Royal Canadian Air Force and was being transferred from Winnipeg to Ottawa, when the transport he was riding in collided in mid air with another aircraft over Ontario. He was only 35.
Well, there’s not any from the movie, really. These are from the book:
“Clyde had a soul that was not destined to grow up. He lacked decidedly that mental clarity and inner directing application that in so many permits them to sort out from the facts and avenues of life the particular thing or things that make for their direct advancement.” “
An American Tragedy (book)
“And they were always testifying as to how God or Christ or Divine Grace had rescued them from this or that predicament—never how they had rescued any one else.”
“For in some blind, dualistic way both she and Asa insisted, as do all religionists, in disassociating God from harm and error and misery, while granting Him nevertheless supreme control. They would seek for something else—some malign, treacherous, deceiving power which, in the face of God’s omniscience and omnipotence, still beguiles and betrays—and find it eventually in the error and perverseness of the human heart, which God has made, yet which He does not control, because He does not want to control it.”
An American Tragedy. 1931. TCM. English. Josef von Sternberg, Hans Dreier (d). Phillips Holmes, Sylvia Sidney, Frances Dee, Irving Pichel, Frederick Burton, Clair McDowell, Charles Middleton, Arnold Korff. (p). John Leipold, Ralph Rainger (m). Lee Garmes (c).
“It’s a magnificent bit of cinema and well-worth watching, especially on this day. It freshly reminds you of just exactly how incredible the achievement of half-a-billion people, represented by three men, was, in an incredibly difficult decade.”
[Is my lipstick on straight? Neil Armstrong and Buzz Aldrin taking first pics on the moon in Apollo 11. Houston, there's no Fotomat around here!]
From 2019: «Apollo 11». It’s the 50th anniversary, in case you hadn’t heard, of humans on the moon, so this is an appropriate thing to do. We missed it on IMAX back in March, but it’s still pretty awesome on a home UHF bigscreen.
“A look at the Apollo 11 mission to land on the moon led by commander Neil Armstrong and pilot Buzz Aldrin.” —TMDb
And CMP Michael Collins, it should be added.
It’s a magnificent bit of cinema and well-worth watching, especially on this day. It freshly reminds you of just exactly how incredible the achievement of half-a-billion people, represented by three men, was, in an incredibly difficult decade.
This one also stands out because of fresh, never-released footage and the filmmakers’ approach.
Sandra Hall «noted» its rejection of typical documentary or cinema techniques which would have landed it solidly in the middle of the pack of 50-year anniversary docs:
“Miller uses no voiceover. Nor are there contemporary interviews looking back on the mission and its legacy. Thanks to the vividness of the footage and some inspired editing, he has succeeded in recapturing the atmosphere of the time. The air of immediacy he’s conjured up entices you into accepting the illusion that the mission happened only yesterday. … “Nor is there any of the heightened drama that fiction has bestowed on those crucial seconds as Armstrong finessed the touchdown, switching to manual control and straining to avoid the large boulders and the crater in their path. “It was hair-raising and last year’s Armstrong biopic, The First Man, made the most of it by filling the scene with flashing red lights and a chorus of warning bleeps before a visibly rattled Ryan Gosling felt safe enough to smile. “Yet this film tells us that the moment was remarkable only for its aura of unshakeable calm. The voices sound untroubled. The only sign of tension is the arrow on the fuel gauge as it moves inexorably towards the empty sign.” —Sydney Morning Herald
An aside, because it’s 20-July: Why did Kennedy always seem to pronounce “decade” as “deh-KADE” instead of the usual “DECK-ade“? A Bahston chowduh thing? We’ll never know, but probably hear it every year of our lifetimes.
Best quote: Not, surprisingly, the obvious Armstrong first one, but:
“Beautiful view … Magnificent desolation.”
Apollo 11. 2019. Online. English. Todd Douglas Miller (d); Buzz Aldrin, Neil Armstrong, Cliff Charlesworth, Michael Collins, Walter Cronkite, Charles Duke, Lyndon Johnson, John F. Kennedy, Gene Kranz, Jim Lovell, Bruce McCandless, Richard Nixon, Deke Slayton (p).
“It’s hard to think of a better illustration of the end of the European theater of war free of the pernicious and ubiquitous American boo-yah of so many countless war films.”
From 1959: «Die Brücke (The Bridge)». Sure it’s an anti-war war film. But it also works as horror: you know what these teens are about to suffer as the film moves from happy school days with worries about English class, liquor, a boat and some girls to its inevitable conclusion, and you want to shout, “Don’t go in that basement [on that bridge]!” For a first-time film director, Bernhard Wicki sure knew what he was doing. This is German cinema at its finest.
“A group of German boys are ordered to protect a small bridge in their home village during the waning months of the second world war. Truckloads of defeated, cynical Wehrmacht soldiers flee the approaching American troops, but the boys, full of enthusiasm for the “blood and honor” Nazi ideology, stay to defend the useless bridge.”
I paired it with Ich war Neunzehn, the East German/Russian film about a 17-year-old Red Army lieutenant’s last days of the war north of Berlin. It’s hard to think of a better illustration of the end of the European theater of war free of the pernicious and ubiquitous American boo-yah of so many countless war films. With these two films, you get rare perspectives of both the end of the war and of the beginning of the peace; Die Brücke illustrates the final gotterdamerung of the Reich and Ich war Neunzehn illustrates the post-gotterdamerung of East German communism overseen by Russian propaganda.
While I still dearly love Der Untergang (2004), it and so many other films tell the same old stories of the major characters of the war. These two films however show what life was like for millions of ordinary people. Die Brücke barely mentions Hitler and Churchill, and they are far off and far removed from the school boys’ mundane cares. Ich war Neunzehn doesn’t mention Stalin. They both allude to the systems of fascism and communism, but that’s not the focus. The result in both cases is refreshing. Instead we see real human beings surviving or dying without madeup actors with little clipped mustaches and their historical names in print below to tell viewers this madeup actor is Hitler or Stalin or Churchill.
David M. Keyes of «Cinemaphile» describes Die Brücke this way:
“The bridge persists as a stubborn link between a decaying empire and imminent liberation, defended enthusiastically by seven young men on the precipice of mortal danger. They wear masks that distort their notion of the inevitable, but not merely out of ignorance; they have been molded by the vehement enthusiasm of nationalism, which remains unchanged even after buildings have crumbled and soldiers have been erased from the battlefields. Most of them are all too eager to step in as defenders of their treasured Reich, though the faces of their parents reflect a more anxious concern. “In one notable moment, for instance, one of the mothers tearfully pleas with her son to ignore the drafting letter he has received, insisting that he flee to the country to stay with relatives. He declines, grinning the whole way, which places emphasis on the underlying conflict: can these teenage boys be faulted for being slaves to the pure and idealistic, even as the possibilities of triumph seem lost in a haze of downtrodden confessions? Perhaps it is more sobering to see them as symbols of the uncultivated, especially under the rule of the Nazis: because this essentially made them the most expendable in an impending fight against enemy combatants, an obligatory defeat only aggravates the wound created by their destructive occupation.”
I’ll come back again and again to this one, and to Ich war Neunzehn; next time, I’ll view them back-to-back on the same night.
Die Brücke. 1959. Criterion Collection. German with English subtitles. Bernhard Wicki (d); Manfred Gregor (novel); Folker Bohnet, Fritz Wepper, Michael Hinz, Frank Glaubrecht, Karl Michael Balzer, Volker Lechtenbrink, Günther Hoffmann, Cordula Trantow, Wolfgang Stumpf, Günter Pfitzmann, Heinz Spitzner, Siegfried Schürenberg, Ruth Hausmeister, Eva Vaitl, Edith Schultze-Westrum, Hans Elwenspoek, Trude Breitschopf, Klaus Hellmold, Inge Benz, Til Kiwe, Edeltraut Elsner, Vicco von Bülow, Georg Lehn, Johannes Buzalski, Heini Göbel, Alexander Hunzinger, Alfons Teuber (a).
“‘On Crimes and Punishments‘ was the first attempt to apply principles of political economy to the practice of punishment so as to humanise and rationalise the use of coercion by the state. After all, arbitrary and cruel punishment was the most immediate instrument that the state had to terrorise the people into submission, so as to avoid rebellion against the hierarchical structure of the society. The problem that Beccaria faced, then, was the simple fact that the elite had complete control of the law, which was a family business and a highly esoteric language that only the initiated could master. The path leading to the rational reform of penal law required a fundamental philosophical rethinking of the role and place of law in society.”
“Konrad Wolf’s 1968 feels like a real 1945; he takes us back to his youth and we’re submerged in the fog that he had to navigate through once upon a time.”
From 1968: «Ich war Neunzehn (I Was Nineteen)». Mesmerizing. Intense. Now in my top ten of all time. Yes, it’s Ostie/DDR propaganda sucking up to the Russians. And it’s very well done, transcending the (now deceased) confines of the DDR strait jacket.
“April 1945: Gregor Hecker, 19 years of age, reaches the outskirts of Berlin as part of the Red Army’s scouting team. Having fled Germany with his family when he was eight, he is confronted with the dilemma of having to fight men from the very country he was born in. Through dealing with challenging situations (e.g. he is appointed commander of Bernau, talks to many disillusioned Germans, and is once and again attacked by scattered groups of German soldiers), he grows more confident that not all hope is lost for post-war Germany.”
As a reviewer at DVD Talk puts it, ” The DEFA was responsible for some very creative films, but it was still under the auspices of a Communist GDR, so there’s the inevitable Stalinist propaganda. The Russians are naturally portrayed as the heroes of the war, and made to be the biggest victims of the war. ” The reviewer, Daniel Siwek, goes on:
Konrad Wolf’s 1968 feels like a real 1945; he takes us back to his youth and we’re submerged in the fog that he had to navigate through once upon a time. It spends a lot of time repeating it’s points and questions, but when you consider the subject matter, isn’t that the way it really is as well? It’s hyped as one of Germany’s greatest films, and while I’m no expert in Deutsche cinema, I can understand that it’s definitely a film that deserves to be examined and appreciated.
Well worth having it in a collection and re-viewing it every once in awhile. Russian/German with English subtitles.
Ich war Neunzehn. 1968. Criterion Collection. German/Russian with English subtitles. Konrad Wolf (d). Wolfgang Kohlhaase (w). Jaecki Schwarz, Vasiliy Livanov, Rolf Hoppe, Galina Polskikh, Jürgen Hentsch, Kurt Böwe, Hermann Beyer, Mikhail Gluzskiy, Jenny Gröllmann, Wolfgang Greese, Johannes Wieke, Fritz Mohr, Otto Lang, Aleksey Eybozhenko, Anatoliy Solovyov, Klaus Manchen, Walter Bechstein, Afanasi Kochetkov, Dieter Mann, Wolfgang Winkler, Martin Trettau (a).
“You are a member of the best dressed, best fed, best equipped liberating Army now on earth. You are going in among the people of a former Ally of your country. They are still your kind of people who happen to speak democracy in a different language.”
As they moved off the beaches after 6-Jun-44, U.S. service personnel read this. Here are some particularly important excerpts.
Pocket Guide to France Prepared by Army Information Branch, Army Services Forces, Information and Education Division, United States Army War and Navy Departments, Washington, D.C. 1944
“Why You’re Going to France “You are about to play a personal part in pushing the Germans out of France. Whatever part you take—rifleman, hospital orderly, mechanic, pilot, clerk, gunner, truck driver—you will be an essential factor in a great effort which will have two results: first, France will be liberated from the Nazi mob and the Allied armies will be that much nearer Virtory, and second, the enemy will be deprived of coal, steel, manpower, machinery, food, bases, seacoast and a long list of other essentials which have enabled him to carry on the war at the expense of the French. “The Allied offensive you are taking part in is based upon a hard-boiled fact. It’s this. We democracies aren’t just doing favors in fighting for each other when history gets tough. We’re all in the same boat. Take a look around you as you move into France and you’ll see what the Nazis to to a democracy when they can get it down by itself.”
“A Few Pages of French History “Not only French ideas but French guns helped us to become a nation. Don’t forget that liberty loving Lafayette and his friends risked their lives and fortunes to come to the aid of General George Washington at a moment in our opening history when nearly all the world was against us. In the War for Independence which our ragged army was fighting, every man and each bullet counted. Frenchmen gave us their arms and their blood when they counted most. Some 45,000 Frenchmen crossed the Atlantic to help us. They came in cramped little ships of two or three hundred tons requiring two months or more for the crossing. We had no military engineers; French engineers designed and built our fortifications. We had little money; the French lent us over six million dollars and gave us over three million more. “In the same fighting spirit we acted as France’s alliy in 1917 and 1918 when our A.E.F. went into action. In that war, France, which is about a fourteenth of our size, lost nearly eighteen times more men than we did, fought twice as long and had an eighth of her country devastated.”
“In Parting “We are friends of the French and they are friends of ours. “The Germans are our enemies and we are theirs. “Some of the secret agents who have been spying on the French will no doubt remain to spy on you. Keep a close mouth. No bragging about anything. ‘No belittling either. Be generous; it won’t hurt. “Eat what is given you in your own unit. Don’t go foraging among the French. They can’t afford it. ‘Boil all drinking water unless it has been approved by a Medical Officer. ‘You are a member of the best dressed, best fed, best equipped liberating Army now on earth. You are going in among the people of a former Ally of your country. They are still your kind of people who happen to speak democracy in a different language. Americans among Frenchmen, let us remember our likenesses, not our differences. The Nazi slogan for destroying us both was “Divide and Conquer.” Our American answer is “In Union There Is Strength.””
Pocket Guide to France, US Army
“No bragging or belittling.” “Remember our likenesses, not our differences.” “In Union There is Strength.”
“Instead of “Thank you for your service,” try, “We’re sorry you had to expend your blood, sweat, tears and toil to clean up our monumental failings.” Every time you meet one of the dwindling numbers of WWII veterans (and those of all the other magnificent little American wars we’ve fallen into), keep your mouth shut and your brain focused on peace. These “Greatest Generation” folks answered the bell and won the fight. We might not be as blessed next time.”
[Yes, the pics are graphic. Look at them. Own them. Be glad they’re in black and white.]
As the 75th anniversary of the launch of Overlord arrives, it’s important to remember that it was just part of a very big picture, the beginning of the end of World War II. Up until that point, it had been a very long, very hard slog. But afterwards you could practically see directly from the beaches of Utah, Omaha, Sword, Juno and Gold on 6-Jun-1944 to the deck of the USS Missouri in Tokyo Bay on 2-Sep-1945. The war now had its expiration date.
No one cheered harder for the faint glimpse of the end than P.o.W.s in Japan, Korea and China. A few of those had survived four years of torture, starvation, beatings, illnesses such as beri-beri and even being bombarded by their own Army Air Force; they were the survivors of Wake Island, which resisted overwhelming Japanese invasion forces between 8-Dec and 23-Dec-1941. Had it not been for Overlord and Manhattan, those men would have died. Instead, they beat the odds thanks to Truman and Ike, Normandy and Trinity. (To quote directly: “Thank God for Harry Truman and thank God for the atom bomb!”)
I always think back to 1989, when as a newspaper reporter, I was privileged to meet just 11 of the Wake Island survivors, who gathered fairly often for small-scale reunions. That year, while working as a reporter who occasionally wrote some features about WWII vets, I got a call from a friend of mine, Marie Smith, (who had kept me sane during my cursed four months while we worked at <shudder> Wal-Mart), to tell me about an upcoming gathering of Wake Island survivors and their wives at the house of her and her husband John. These people were at that point closer than family, bound forever by what happened on a tiny atoll in the middle of a vast ocean.
The article below is what I wrote at the time, but there are two caveats: First, I apparently misspelled some names. I’ve corrected this at the bottom of this post with their bios. And second, this represents nowhere near everything I was told that day. I felt like an eavesdropper, someone who could watch and hear them, but who was so far removed from their time and experience that comprehension was impossible.
In 2016, the daughter of Tony Schawang of Falls City, NE, the man into whose soybeans Braniff 250 fell in 1966, told me an anecdote about her father, who landed on Omaha Beach 75 years ago. She said she once asked him about that day and he said, “Girlie, you don’t need to know anything about that kind of thing.” He was right.
A photographer took Tony’s picture the morning after the Braniff crash. He looks shell-shocked. I could only imagine the horror of seeing 42 dead people and a crashed airliner fall to earth in front of you. But after finding out that Tony had already seen way worse in 1944 made that picture clearer, more understandable. That’s a thousand-yard stare he has in that 1966 photo. I will now always wonder if he was seeing the wreckage of Braniff 250 … or the wreckage of Omaha Beach. Or a bloody mashing together of both. (As much as I respect Mr. Schawang, as the photos above attest, I disagree. We should always know, and see, the consequences of war.)
Now that we’re older, we can understand, and value, more of the meaning and reality of all this, but those Marines and their wives (and Tony Schawang) are now gone. We can’t have conversations with them just because we’re older and wiser and can now listen to them. They’re lost to history … and we’re much the poorer for it.
What do I now know? Don’t put D-Day in service to American (or British) exceptionalism or nationalism or patriotism, and don’t “thank” a veteran for his/her “service.” Man up, grow up and face up to the reality that no one wanted to “serve” us on the cold Normandy sand. They wanted to simply survive. The hard truth is that D-Day (and Wake Island) represented a failure. A failure to confront, contain and eliminate human anger, violence, and hatred in service to nationalistic ideologies in Japan, Germany and Italy. The failure to do that consumed, between 1914 and 1945 upwards of 150 million lives around the world. WWII soldiers HAD to “serve” at Omaha Beach because WE failed to protect THEM.
Instead of “Thank you for your service,” try, “We’re sorry you had to expend your blood, sweat, tears and toil to clean up our monumental failings.” Every time you meet one of the dwindling numbers of WWII veterans (and those of all the other magnificent little American wars we’ve fallen into), keep your mouth shut and your brain focused on peace. These “Greatest Generation” folks answered the bell and won the fight. We might not be as blessed next time.
Here are the original two Wake Island articles:
Memory Of WWII Still Vivid For Vets (Part I of the Wake Island Story)
‘Considering the power accumulated for the invastion of Wake Island and the meager forces of the defenders, it was one of the most humiliating defeats the Japanese Navy ever suffered.’ —Masatake Okumiya, commander, Japanese Imperial Navy
By Steve Pollock The Duncan (OK) Banner) Sunday, August 13, 1989
MARLOW – It all came back to them this weekend – the stark terror of facing death while kneeling naked on a sandy beach the stinking hold of the prison ship; the brutality of the Japanese; the obliteration of youthful innocence.
They fought and bled for a two-and-a-half-square-mile horseshoe of an atoll in the midPacific called Wake Island. They were United States Marines and they did their duty.
There were 10 [sic] men of that Wake Island garrison at the Marlow home of John Smith this weekend. With Smith, they talked, drank and smoked their way through the weekend, laughter masking deeper emotions of brotherhood, camaraderie and painful memories.
In the Smith kitchen, their wives continued the latest of an ongoing series of therapy sessions, attempting to exorcise some of the demons of the last 44 years of their lives with the hometown heroes.
In 1941, with war inevitable, the U.S. government began construction of a series of defensive Pacific Ocean outposts, including Wake, designed to protect against Japanese aggression. They were a little late.
Little Wake atoll, with some 1,616 Marines and civilians huddled on its three islands, was attacked at noon, Dec. 8, 1941, several hours after Pearl Harbor.
The Marines knew war was possible, but “didn’t think the little brown guys had the guts to hit us,” one of them said.
Jess Nowlin’s hearing aid battery is getting a little weak as the afternoon wears on, but his memory and sense of humor are still sharp.
He said the Marines were going about their business when they heard the drone of approaching aircraft.
“We thought they were B- 17’s out of Pearl coming in to refuel. They weren’t. They broke out of a cloud bank at about 1,800 feet, bomb bay doors open. They tore us up,” Nowlin said.
The Japanese attacked from sea and air, but the Marines held out until Dec. 23; only 400 remained to defend 21 miles of shoreline from 25 warships and a fleet of aircraft. Surrender was inevitable.
Through a haze of cigarette smoke, Robert Mac Brown, a veteran not only of World War II, but of Korea and three tours of duty in Vietnam, remembers the post-surrender scene on the beach.
“We were stripped naked and they hog-tied us with our own telephone wire. A squall came through, but lasted only about 10 to 15 minutes. One of my clearest memories of the whole operation is of watching the water run down the bare back of the guy in front of me,” Brown said.
Japanese soldiers lay on the sand in front of the prisoners, swinging machine guns back and forth. The click of rounds being loaded into chambers was ominous. Fingers tightened on triggers.
“There was an argument between the landing force commander and a guy with the fleet. They screamed at each other in Japanese, arguing about whether to kill us or not,” Brown said.
The Marines made their peace and prepared to die.
The argument to make prisoners of the Marines and civilians won the day. The prisoners were allowed to grab what clothing they could to cover themselves.
And then a living hell began which would only be ended by the birth of atomic stars over southern Japan nearly four years later.
Taken off the island on small ships, the prisoners were forced to climb up the side of the Nittamaru, a former cruise ship pitching about on rough seas.
As the men walked back through the ship and down to the hold, the crew beat them with bamboo sticks, in a gauntlet of brutality.
Packed in the stinking hold, several hundred Marines and civilians had only one five-gallon bucket per deck to hold human waste. For the 14 days of the Nittamaru’s passage from Wake to Shanghai, they could barely move.
The cold of Shanghai was felt through their thin tropical khaki. It was January 1942. Robert Brown was to have married his girl on January 12. She married someone else.
“I thought you were dead,” she later told him.
From Shanghai, through Nanking, Peking, Manchuria and Pusan, Korea, the group journeyed in packed cattle cars to their eventual destination, a coal mine on the Japanese island of Hokkaido, where they dug in the shafts alongside third-generation Korean slave labor.
They were slaves themselves until August 1945.
“Thank God for Harry S. Truman and the atomic bomb,” several survivors said, as the others echoed that prayer.
They went home to heroes’ welcomes, but the public ”’never fully appreciated or understood what we did,” Nowlin said.
They’re much older now — in their 60’s and 70’s — and it was a family reunion of sorts; they claim to be closer than brothers. They don’t miss their “get-togethers” for anything in the world; Robert Haidinger traveled from San Diego with a long chest incision after recently undergoing a major operation.
As they gazed through the Oklahoma sunshine, they didn’t see the cow bam beyond the lovegrass rippling in the August breeze; it was a Japanese destroyer was steaming close in to end their lives all over again.
“It was awful, terrible; I wouldn’t have missed it for anything; you couldn’t get me to do it again for a billion dollars,” Nowlin summed it up.
The men: Tony Obre [sic], Fallbrook, Calif; Robert Haidinger, San Diego, Calif.; Robert Murphy, Thermopolis, Wyo.; Dale Milburn [sic], Santa Rosa, Calif.; George McDaniels [sic], Dallas, Texas; Jess Nowlin, Bonham, Texas; Jack Cook, Golden, Colo.; Robert Mac Brown, Phoenix, Ariz.; Jack Williamson, Lawton; Paul Cooper, Marlow, and John Smith, Marlow.
The cost of the defense of Wake Island, from Dec. 8 to 23, 1941: Americans: 46 Marines, 47 civilians, three sailors and 11 airplanes; Japanese: 5,700 men, 11 ships and 29 airplanes.
Wives Cope With Husband’s Memories (Part II of the Wake Island Story)
By Steve Pollock The Duncan (OK) Banner Sunday, August 13, 1989
MARLOW – It all came back to them this weekend – fists lashing out during nightmares, the traumatic memories, the attempts to catch up on lost time.
The wives of 10 Wake Island survivors met in Marlow with their husbands this weekend for reasons of their own.
“We go through therapy every time we get together. We help each other with problems,” they said.
The wives: Florence Haidinger, Maxine Murphy, Opal Milburn [sic], Irene McDaniels [sic], Sarah Nowlin, Betty Cook, Millie Brown, Jo Williamson, Juanita Cooper and Marie Smith.
They did their own bit during World War II: The Red Cross, an airplane factory in Detroit, North American Aviation in El Segundo, Calif, Douglas in Los Angeles, the Kress dime store.
They married their men after the long national nightmare was finished, and their lives became entwined by one event: the Japanese attack on Wake Island Dec. 8-23,1941.
Since the first reunion of Wake survivors and their spouses in 1953, these women have been like sisters.
“We love each other, we’re closer than family,” Jo Williamson said.
In Marie Smith’s kitchen, therapy was doled out in a catharsis of talk little different from that of the men gathered on the patio. Talk is said to be good for the soul; these women heal great tears in theirs every time they see each other.
According to the wives, the men came home from the war, married, had children and tried to pick up where they left off.
They wanted to take care of their families and try to catch up. They were robbed of the fun times of their late teens and early 20’s, the women unanimously agree.
“They have also lived every day as if it were their last,” Sarah Nowlin said.
The men needed some help after their harrowing battle and brutal three -and-a-half-year captivity.
According to the women, doctors never realized therapy was in order: “They never got anything.”
One man lashed out with his fists during nightmares; after a few pops, his wife learned to leave the room. Another would slide out of bed and assume a rigid posture on the floor, arms and legs folded. Yet they have all been gentle men.
“I’ve never seen my husband harm or even verbally abuse anyone,” a wife said Reunions such as this help the men and women deal with life as they age. The youths of 16-22 are now grandfathers and grandmothers in their 60’s and 70’s.
Life today is a bit baffling to them.
Extremely proud of their men, the women have no patience with draft dodgers, flag burners, Japanese cars or foreign ownership of America.
They didn’t agree with the Vietnam war policy, but duty to country should have come first, they said.
“I didn’t want my son to go to Vietnam, but I would have been ashamed of him if he hadn’t,” one said.
The issue of flag burning stirs violent protest and emotion in the group: “Made in America”’ labels are on everything they buy.
And the younger generation does not enjoy the women’s confidence: “I don’t think they could do what we were all called on to do,” they agreed.
And as Marlow afternoon shadows grew longer, the women of Wake continued to cleanse their souls.
Updated bios (confirmed via findagrave.com):
• Cpl. Robert Mac Brown, USMC, Phoenix, AZ. Birth: 1-Feb-1918. Death: 21-Sep-2002 (age 84). Buried: Arlington National Cemetery, Arlington, VA.
• Sgt. Jack Beasom Cook, USMC, Golden, CO.
Birth: 18-Jun-1918, Okmulgee, OK.
Death: 20-Nov-1999 (age 81).
Buried: Fort Logan National Cemetery, Denver, CO.
• Sgt. Paul Carlton Cooper, USMC, Marlow, OK.
Birth: 30-Oct-1918, Richardson, TX.
Death: 18-Sep-1994 (age 75), Marlow, OK.
Buried: Marlow Cemetery, Marlow, OK.
• Cpl. Robert Fernand Haidinger, USMC, San Diego, CA. Birth: 24-Nov-1918, Chicago, IL. Death: 7-Mar-2014 (age 95). Buried: Fort Rosecrans National Cemetery, San Diego, CA.
• PFC Robert Bruce “Bob” Murphy, USMC, Thermopolis, WY. Birth: 5-Oct-1920, Thermopolis, WY. Death: 5-Feb-2007 (age 86), Hot Springs County, WY. Buried: Monument Hill Cemetery, Thermopolis, WY.
• Pvt. Ival Dale Milbourn, USMC, Phoenix, AZ.
Birth: 23-Jul-1922, Saint Joseph, MO.
Death: 18-Dec-2001 (age 79), Mesa, AZ.
Buried: Skylawn Memorial Park, San Mateo, CA.
• PFC George Washington “Dub” McDaniel, Dallas, TX.
Birth: 23-Dec-1915, Stigler, OK.
Death: 14-Jul-1993 (age 77).
Buried: Stigler Cemetery, Stigler, OK.
WASHINGTON (AP) — The State Department is now requiring nearly all applicants for U.S. visas to submit their social media usernames, previous email addresses and phone numbers. It’s a vast expansion of the Trump administration’s enhanced screening of potential immigrants and visitors.
In a move that’s just taken effect after approval of the revised application forms, the department says it has updated its immigrant and nonimmigrant visa forms to request the additional information, including “social media identifiers,” from almost all U.S. applicants.
The change, which was proposed in March 2018, is expected to affect about 15 million foreigners who apply for visas to enter the United States each year.
Yes, we’re so scared we’re insisting on a lot more:
In addition to their social media histories, visa applicants are now asked for five years of previously used telephone numbers, email addresses, international travel and deportation status, as well as whether any family members have been involved in terrorist activities.
Just a few years ago, our leadership was saying:
So, first of all, let me assert my firm belief that the only thing we have to fear is fear itself—nameless, unreasoning, unjustified terror which paralyzes needed efforts to convert retreat into advance.
Franklin D. Roosevelt, 4-Mar-33
How refreshing. And he had Hitler, Mussolini, Tojo, polio and the imminent deaths of 100 million human beings to worry about. We are no longer made of sterner stuff. We freak out over Twits (and their Twitterings) and have palpitations over words and clutch our pearls if someone is transgressive about … well anything.
Grow a spine Democrats! Listen to the dead man and stop fearing! Send tis administration packing by using the ballot box or Articles of Impeachment! Now!
“Many states whose sovereignty is threatened are now finally waking up to the danger. But is it perhaps already too late to do anything about the seemingly over-mighty corporations?”
Is corporate power absolute yet? Or just overwhelming? Maybe … it’s just … mestastizing? There’s a fascinating documentary over at Deutsche Welle:
“The Wallonia region in Belgium triggered a Europe-wide crisis in the fall of 2016 by refusing to sign the CETA free trade agreement with Canada, as millions of EU citizens took to the streets to protest against the agreement. The CETA negotiations had turned the spotlight on the system of private arbitration courts. … Many states whose sovereignty is threatened are now finally waking up to the danger. But is it perhaps already too late to do anything about the seemingly over-mighty corporations?”