Reviews (9)

American Propoganda
These movies were perfect for the US troops in World War II. They caused anger in the troops. It made them want to fight.

As for being of historical value - well... they aren't. Take anything you watch with a grain of salt. Some of it may be true, some is not correct at all. The Americans use basic propoganda techniques like constantly repeating what Hitler said, and then showing what he did. The movies don't bother to tell how the political climate had changed and Hitler had been forced to act against what he had originally promised.

I'm a history professor at a well-established university (sorry, can't tell you which one... anonymity is key to survival). I would not use this to teach my classes. The real facts are very different from what the movies portray.

As I said... They served their purpose to boost morale in the troops back in 1944-45... but to the general public it is just hogwash.

The opening volume in Frank Capra's "Why We Fight" series
The famous "Why We Fight" documentary series was produced by Frank Capra when he was a major in the U.S. Army Signal Corps. The series was commissioned by Army Chief of Staff, General George C. Marshall, as a way of indoctrinating all the troops who signed up in the wake of Pearl Harbor and the declaration of war. The idea was to make it clear we were doing more than just remembering Pearl Harbor as we mobilized for a war to be fought across two oceans . Eventually the series was shown to the public in theaters across the country.

"Prelude to War," the introductory film in the "Why We Fight" series covers the events leading up to the Second World War, focusing on the rise of Fascism in Italy and Germany, the Japanese attacks on Manchuria, and the United States' lack of military preparedness. The last is particularly interesting because it implicitly explains Pearl Harbor not as a Japanese victory, but rather as an American defeat (we lost rather than they won).

This first chapter in the "Why We Fight" series defines World War II in black and white terms as the totalitarian worldwide conspiracy threatens to turn the free world into a slave world. Admittedly a propaganda film, this 1942 documentary is quite informative, explaining about Hitler's book "Mein Kampf," Lebensraum, the Tanaka Plan, the London Naval Treaty, the Kellogg-Briand Pact, the Nuremberg Laws, and even such details as the Roman fasces.

This 54-minute black & white film won the Academy Award for best documentary in 1942 and the series as a whole is credited with redefining the documentary as an art form. Of great historical value, it must be underscored that "Prelude to War" is not exactly propaganda in the most pejorative sense of the term. The film's great "sin" along those lines is that it makes the case that public opinion was moving in the direction of joining the war. Instead of dismissing this film and Capra's efforts as the American counterpart to what Goebbels was doing in Nazi Germany, it is more accurate to think of it as being the film equivalent of a prosecutor's speech in a trial. "Prelude to War" makes much better use of evidence without the radical distortion you usually find in classic examples of propaganda.

"Prelude to War," the first volume of Capra's "Why We Fight"
As you probably know, the "Why We Fight" series was produced by Frank Capra when he was a major in the U.S. Army Signal Corps. The series was commissioned by Army Chief of Staff, General George C. Marshall, as a way of indoctrinating all the troops who signed up in the wake of Pearl Harbor and the declaration of war. The idea was to make it clear we were doing more than just remembering Pearl Harbor. Eventually the series was shown to the public in theaters across the country. "Prelude to War," the introductory film in the "Why We Fight" series covers the events leading up to the Second World War, focusing on the rise of Fascism in Italy and Germany, the Japanese attacks on Manchuria, and the United States' lack of military preparedness. The last is particularly interesting because it implicitly explains Pearl Harbor not as a Japanese victory, but rather as an American defeat (we lost rather than they won).

"Prelude to War" defines World War II in black and white terms as the totalitarian worldwide conspiracy threatens to turn the free world into a slave world. Admittedly a propaganda film, this 1942 documentary is quite informative, explaining about Hitler's book "Mein Kampf," Lebensraum, the Tanaka Plan, the London Naval Treaty, the Kellogg-Briand Pact, the Nuremberg Laws, and even such details as the Roman fasces.

This 54-minute black & white film won the Academy Award for best documentary in 1942 and the series as a whole is credited with redefining the documentary as an art form. Of great historical value, it must be underscored that "Prelude to War" is not exactly propaganda in the most pejorative sense of the term. The film's great "sin" along those lines is that it makes the case that public opinion was moving in the direction of joining the war. Instead of dismissing this film and Capra's efforts as the American counterpart to what Goebbels was doing in Nazi Germany, it is more accurate to think of it as being the film equivalent of a prosecutor's speech in a trial. "Prelude to War" makes much better use of evidence without the radical distortion you usually find in classic examples of propaganda.

Frank Capra's documentary on the origins of World War II
As you probably know, the "Why We Fight" series was produced by Frank Capra when he was a major in the U.S. Army Signal Corps. The series was commissioned by Army Chief of Staff, General George C. Marshall, as a way of indoctrinating all the troops who signed up in the wake of Pearl Harbor and the declaration of war. The idea was to make it clear we were doing more than just remembering Pearl Harbor. Eventually the series was shown to the public in theaters across the country. "Prelude to War," the introductory film in the "Why We Fight" series covers the events leading up to the Second World War, focusing on the rise of Fascism in Italy and Germany, the Japanese attacks on Manchuria, and the United States' lack of military preparedness. The last is particularly interesting because it implicitly explains Pearl Harbor not as a Japanese victory, but rather as an American defeat (we lost rather than they won).

"Prelude to War" defines World War II in black and white terms as the totalitarian worldwide conspiracy threatens to turn the free world into a slave world. Admittedly a propaganda film, this 1942 documentary is quite informative, explaining about Hitler's book "Mein Kampf," Lebensraum, the Tanaka Plan, the London Naval Treaty, the Kellogg-Briand Pact, the Nuremberg Laws, and even such details as the Roman fasces.

This 54-minute black & white film won the Academy Award for best documentary in 1942 and the series as a whole is credited with redefining the documentary as an art form. Of great historical value, it must be underscored that "Prelude to War" is not exactly propaganda in the most pejorative sense of the term. The film's great "sin" along those lines is that it makes the case that public opinion was moving in the direction of joining the war. Instead of dismissing this film and Capra's efforts as the American counterpart to what Goebbels was doing in Nazi Germany, it is more accurate to think of it as being the film equivalent of a prosecutor's speech in a trial. "Prelude to War" makes much better use of evidence without the radical distortion you usually find in classic examples of propaganda.

Frank Capra explains to Americans how World War II started
As you probably know, the "Why We Fight" series was produced by Frank Capra when he was a major in the U.S. Army Signal Corps. The series was commissioned by Army Chief of Staff, General George C. Marshall, as a way of indoctrinating all the troops who signed up in the wake of Pearl Harbor and the declaration of war. The idea was to make it clear we were doing more than just remembering Pearl Harbor. Eventually the series was shown to the public in theaters across the country. This introductory film in the "Why We Fight" series covers the events leading up to the Second World War, focusing on the rise of Fascism in Italy and Germany, the Japanese attacks on Manchuria, and the United States' lack of military preparedness. The last is particularly interesting because it implicitly explains Pearl Harbor not as a Japanese victory, but rather as an American defeat (we lost rather than they won). "Prelude to War" defines World War II in black and white terms as the totalitarian worldwide conspiracy threatens to turn the free world into a slave world. Admittedly a propaganda film, this 1942 documentary is quite informative, explaining about Hitler's book "Mein Kampf," Lebensraum, the Tanaka Plan, the London Naval Treaty, the Kellogg-Briand Pact, the Nuremberg Laws, and even such details as the Roman fasces.

This 54-minute black & white film won the Academy Award for best documentary in 1942 and the series as a whole is credited with redefining the documentary as an art form. Of great historical value, it must be underscored that "Prelude to War" is not exactly propaganda in the most pejorative sense of the term. The film's great "sin" along those lines is that it makes the case that public opinion was moving in the direction of joining the war. Instead of dismissing this film and Capra's efforts as the American counterpart to what Goebbels was doing in Nazi Germany, it is more accurate to think of it as being the film equivalent of a prosecutor's speech in a trial. "Prelude to War" makes much better use of evidence without the radical distortion you usually find in classic examples of propaganda. ... Read more

Description

Sick of Higgins’ controlling nature, Dan finally decides to stand up for himself.Quitting his job as manager of a factory owned by J.L., Dan dedicates all of his time to his racing horse, Broadway Bill, in hopes that he can profit from his trusty steed.Arrested for not repaying a supplier he owed money to, Dan must rely on the success of Broadway Bill to bail him out. ... Read more

Reviews (4)

A HIDDEN DELIGHT.
A cheerful horse trainer finds he has a winner. A very entertaining, lighthearted film which is very thirties, with Capra's early style in full bloom. For years, this film was actually considered lost. Good thing it wasn't! The title refers to a thoroughbred horse. Trivial though the plot may be, this film has great style: a happy film to watch. Trivia information: This film was remade as RIDING HIGH with Bing Crosby and Colleen Gray in 195O. Location footage was shot at the Tanforan Racetrack in San Mateo county in California. Watch for a 23 year-old blonde Lucille Ball as an extra - a switchboard operator! The cast is inspired and entertaining: Myrna Loy as Alice, Helen Vinson, Margaret Hamilton, Ward Bond, Inez Courtney and Jason Robards (Sr.). The nearly forgotten Warner Baxter plays the lead role of Dan Brooks. Originally, the film was released at 125 minutes.

A forgotten Frank Capra gem
A once-lost Capra film, with a plot revolving around a long-shot champion racehouse that everyone had written off as a nag. Great chemistry between Myrna Loy and Warner Baxter, who had a Clark Gable-ish charm as the fast-talking rogue who gets Bill his big break. Cast notes: Clarence Muse is cool as Baxter's sidekick, in a surprisingly strong role for an African-American actor at the time; Margaret Hamilton (aka the Wicked Witch of the West) plays "vinegar puss", the spinsterish landlady of one of Baxter's ne'er-do-well pals. Capra remade this film in 1952, with Bing Crosby in the lead role; I far prefer Baxter. This is a good classic film; the ending will slay you.

For the Love of Horses
Broadway Bill is the story of a man played by Warner Baxter, married to the daughter of a business tycoon, who has sacrificed his love for horses to work for his empire building father-in-law. He decides to break away from the life he hates, and he pins his hopes on Broadway Bill, a horse with a lot of heart. Along for the ride is Myrna Loy, his wife's younger sister who shares his disdain for the family empire and his love of horses. Baxter, a forgotten actor from the 1930's is alright in the central role, and Loy is really appealing as the girl secretly in love with him. The story has a lot of good moments, particularly those surrounding the betting and the racetrack. The parts of the story dealing with Baxter's in-laws aren't as well written or interesting (although I liked the way they ate dinner "together"), and the ending doesn't quite ring true. But all in all, it's an entertaining movie.

A madcap, dramatic romance comedy
BROADWAY BILL was like a lost jewel, until it was unearthed around 1990. It has romance, laughter, triumph, tears, & despair, and while the pairing of Myrna Loy & Warner Baxter is not Nick & Nora, they still are very well paired. Baxter is slightly smarmy as Broadway Bill's owner, and while I think a better choice could have been made in his role, he still does a good job. Try a double bill of this with It Happened One Night, or better yet, a triple bill with My Man Godfrey. ... Read more

Description

RIDING HIGH tells the story of a horse trainer who is down and out and looks to his horse to win the big race and get him back on his feet. ... Read more

Reviews (4)

GREAT MOVIE!!!!
I just recently got this movie and have watched it twice. I absolutely love it! Don't listen to those who gave this movie 1 star..... it's definetly a 5 star! Bing's performance is just awesome! He was always such a truthful actor, and in this movie you can really see his own personality come into the character. And I thought Coleen Gray's performance was very good also. I think that she portrayed her character perfectly. I really enjoyed the music also. And "Sunshine Cake" was not "sentimentality at its most obnoxious" as one reviewer said.......the characters were just being goofy and having fun, and I really enjoyed it (people shouldn't take things so seriously). This movie has become one of my favorites, and I highly recommend it. It's a light, fun, and humorous movie with some really charming scenes and songs.

"A STINKER!"
I am quoting Humphrey Bogart in the above title of this review. He was referring to a film his own production company, Santana Productions, made called "Sirocco." .

I tend not to review movies I don't like because I have no enthusiasm for them. In fact, this is the first time I have done so. Everything about this movie is inane: the performances (especially Coleen Gray's, whose idea of acting is to grin as widely as possible and sparkle her eyes. One wishes she had never gone into the business.), the silly dialogue, the phony script, etc., etc.

It only has two things going for it: A beautiful horse which is a delight to watch, though frustrating as the characters treat him so shabbily, and his mascot and pal, a darling rooster, Obviously trained to be performers, they easily outshine all their human co-actors.

Oh, and the music. Insipid, especially a song called "The Sunshine Cake." Sentimentality at its most obnoxious. Bing finally does sing "Camptown Races," but by this time you don't care.

There are better horse movies. There are much better Crosby movies. Can't think of one good reason to view this one unless you want to waste your time!

Capra near his worst
This film marks the beginning of the end for Frank Capra. His creativity appears to have deserted him -- he makes extensive use of footage from his own, far superior Broadway Bill. It is understandable that he would use footage from the earlier film's climactic, thrilling horse race. But he also intercuts entire scenes from the earlier film, then brings back the actors and apparently expects us not to notice that they're 14 years older! The only point of interest is one of the last appearances of Oliver Hardy. Otherwise, you'd be best advised to catch Broadway Bill instead.

Sheer Joy
I love the energy and enthusiasm of Capra's films, and I disagree with Maltin's description of the film as "unmemorable entertainment." I have seen it twice and hope to see it again. There is such a high level of quality throughout...not only in the techniques of film making, but in the incredible appropriateness of the acting...body language, facial expressions, interactions between characters, and so on. I suppose I am old fashioned, but I don't see this level of quality in many of today's films. Sure our technology is awesome, but what do we do with it...Make some pretty stupid, boring films in which people walk around like zombies, speaking lines they don't seem to understand, and don't utilize their faces or bodies to support the scenes. I find this film uplifting and exhilarating, and completely entertaining from beginning to end. Capra claims in his autobiography that he wanted to do this remake Broadway Bill because Warner Baxter, the original star, was nervous around horses, and did not really acheive what Capra wanted. I have not yet seen Broadway Bill, so I can't compare... but this remake contains original 1934 footage ingeniously integrated into the ca. 1951 scenes. An actor from 1951 engages in a telephone conversation with someone who was filmed in 1934! Great fun. ... Read more

Reviews (2)

Strong Intro to Langdon, Capra
A great introduction to Harry Langdon, and a bonus for those interested in the genesis of director Frank Capra. The print quality is beautifully crystal clear -- it really shows what silent films were supposed to look like. I love Keaton and appreciate Chaplin and Lloyd, but there's something special about Langdon. This film, especially, showcases his subtlety of expression: his "innocent" face reflecting undercurrents of malice, longing, and sexual anxiety. Yeah, and it's funny. And sweet. My appreciation of "The Strong Man" was heightened by reading Walter Kerr's "The Silent Clowns," which features some of the most definitive writing ever done on Langdon and certainly the most in-depth examination of this film. You'll spot new things with repeated viewings (check out the extra in the patterned dress who walks past Harry on his street corner again and again.) Even if comedy, Capra or silent film aren't your thing, you might like this just for the fabulous '20s fashions and decor.

Hilarious Climax!
Langdon, often described as the fourth great clown of the silent era (after Chaplin, Keaton, and Langdon), can be a little hard to take. His characters are intentionally immature and ineffectual. But if you're patient, there's funny stuff here, and watch out for an unexpected slam-bang finale where little Harry is forced to perform a strongman act! ... Read more

Reviews (4)

Frank Capra's "Why We Fight" turns to the Pacific Theater
The first five volumes in Frank Capra's celebrated "Why We Fight" series focused on Hitler's Nazis overrunning Europe in the first half of World War II. "The Battle of China: The Assault on the Great Wall" shifts the focus to the Chinese defense against Japanese aggression. Like the previous chapter, "The Battle of Russia," an important part of the intent here is to establish a sense of identification between the American people with a foreign ally, although Capra does not have to gloss over the political ideology of the Chinese the same way he did with the Communist Soviets.

This explains why this chapter provides a brief history of China and its people and then details why the Japanese wanted to conquer the country, namely getting the raw materials and slave labor necessary for taking over all of Asia. The War in the Pacific covered, showing the valiant effort by the Chinese to stop the Japanese. Also featured are General Claire Lee Chennault's famous Flying Tigers, the American Volunteer Group who had joined the battle to defend China. This 67-minute black & white 1944 documentary is narrated by writer Anthony Veiller (Walter Houston just does the voice of Abraham Lincoln this time) and Anatole Litvak served as an uncredited co-director. In the next volume, "War Comes to America," the Japanese attack on Pearl Harbor brings the United States into the war.

The "Why We Fight" series is the supreme example of propaganda put out by the U.S. government during World War II. Capra, a major in the U.S. Army Signal Corps, was commissioned to make a series of short documentaries that would explain the policy of the U.S. government to the troops that were being hastily assembled, trained, and sent overseas to fight. But the "Why We Fight" series proved so effective it was eventually shown in theaters to the American public. In 2000 the "Why We Fight" series was added to the Library of Congress National Film Registry and remains a prime source of archival footage for the period.

The Why We Fight Series turns to Japans attack on China
"The Battle of China: The Assault on the Great Wall" shifts the focus of Frank Capra's celebrated "Why We Fight" series to Chinese defense against Japanese aggression. The previous five chapters were devoted to Hitler's conquest of most of Europe, but Capra is now setting up the final chapter where Japan attacks the United States. What makes "The Battle of China" so interesting is that like the previous chapter, "The Battle of Russia," part of the intent here is to establish a sense of identification between the American people with a foreign ally. However, this time Capra does not have to gloss over the political ideology of the Chinese the same way he did with the Communist Soviets.

Consequently, this chapter provides a brief history of China and its people and then details why the Japanese wanted to conquer the country, namely getting the raw materials and slave labor necessary for taking over all of Asia. The War in the Pacific covered, showing the valiant effort by the Chinese to stop the Japanese. Also featured are General Claire Lee Chennault's famous Flying Tigers, the American Volunteer Group who had joined the battle to defend China. This 67-minute black & white 1944 documentary is narrated by writer Anthony Veiller (Walter Houston just does the voice of Abraham Lincoln this time) and Anatole Litvak served as an uncredited co-director.

The "Why We Fight" series is the supreme example of propaganda put out by the U.S. government during World War II. Capra, a major in the U.S. Army Signal Corps, was commissioned to make a series of short documentaries that would explain the policy of the U.S. government to the troops that were being hastily assembled, trained, and sent overseas to fight. But the "Why We Fight" series proved so effective it was eventually shown in theaters to the American public. In 2000 the "Why We Fight" series was added to the Library of Congress National Film Registry and remains a prime source of archival footage for the period.

The "Why We Fight" series turns to the Pacific Theater
The first five volumes in Frank Capra's celebrated "Why We Fight" series focused on Hitler's Nazis overrunning Europe in the first half of World War II. "The Battle of China: The Assault on the Great Wall" shifts the focus to the Chinese defense against Japanese aggression. Like the previous chapter, "The Battle of Russia," an important part of the intent here is to establish a sense of identification between the American people with a foreign ally, although Capra does not have to gloss over the political ideology of the Chinese the same way he did with the Communist Soviets.

This explains why this chapter provides a brief history of China and its people and then details why the Japanese wanted to conquer the country, namely getting the raw materials and slave labor necessary for taking over all of Asia. The War in the Pacific covered, showing the valiant effort by the Chinese to stop the Japanese. Also featured are General Claire Lee Chennault's famous Flying Tigers, the American Volunteer Group who had joined the battle to defend China. This 67-minute black & white 1944 documentary is narrated by writer Anthony Veiller (Walter Houston just does the voice of Abraham Lincoln this time) and Anatole Litvak served as an uncredited co-director. In the next volume, "War Comes to America," the Japanese attack on Pearl Harbor brings the United States into the war.

The "Why We Fight" series is the supreme example of propaganda put out by the U.S. government during World War II. Capra, a major in the U.S. Army Signal Corps, was commissioned to make a series of short documentaries that would explain the policy of the U.S. government to the troops that were being hastily assembled, trained, and sent overseas to fight. But the "Why We Fight" series proved so effective it was eventually shown in theaters to the American public. In 2000 the "Why We Fight" series was added to the Library of Congress National Film Registry and remains a prime source of archival footage for the period.

Very good video.
This video explain why Japan wanted to conquer China and how China united in their war against Japan. And it shows the horrors of the war. I thought it was a very good video. ... Read more

Reviews (4)

Frank Capra's "Why We Fight" turns to the Pacific Theater
The first five volumes in Frank Capra's celebrated "Why We Fight" series focused on Hitler's Nazis overrunning Europe in the first half of World War II. "The Battle of China: The Assault on the Great Wall" shifts the focus to the Chinese defense against Japanese aggression. Like the previous chapter, "The Battle of Russia," an important part of the intent here is to establish a sense of identification between the American people with a foreign ally, although Capra does not have to gloss over the political ideology of the Chinese the same way he did with the Communist Soviets.

This explains why this chapter provides a brief history of China and its people and then details why the Japanese wanted to conquer the country, namely getting the raw materials and slave labor necessary for taking over all of Asia. The War in the Pacific covered, showing the valiant effort by the Chinese to stop the Japanese. Also featured are General Claire Lee Chennault's famous Flying Tigers, the American Volunteer Group who had joined the battle to defend China. This 67-minute black & white 1944 documentary is narrated by writer Anthony Veiller (Walter Houston just does the voice of Abraham Lincoln this time) and Anatole Litvak served as an uncredited co-director. In the next volume, "War Comes to America," the Japanese attack on Pearl Harbor brings the United States into the war.

The "Why We Fight" series is the supreme example of propaganda put out by the U.S. government during World War II. Capra, a major in the U.S. Army Signal Corps, was commissioned to make a series of short documentaries that would explain the policy of the U.S. government to the troops that were being hastily assembled, trained, and sent overseas to fight. But the "Why We Fight" series proved so effective it was eventually shown in theaters to the American public. In 2000 the "Why We Fight" series was added to the Library of Congress National Film Registry and remains a prime source of archival footage for the period.

The Why We Fight Series turns to Japans attack on China
"The Battle of China: The Assault on the Great Wall" shifts the focus of Frank Capra's celebrated "Why We Fight" series to Chinese defense against Japanese aggression. The previous five chapters were devoted to Hitler's conquest of most of Europe, but Capra is now setting up the final chapter where Japan attacks the United States. What makes "The Battle of China" so interesting is that like the previous chapter, "The Battle of Russia," part of the intent here is to establish a sense of identification between the American people with a foreign ally. However, this time Capra does not have to gloss over the political ideology of the Chinese the same way he did with the Communist Soviets.

Consequently, this chapter provides a brief history of China and its people and then details why the Japanese wanted to conquer the country, namely getting the raw materials and slave labor necessary for taking over all of Asia. The War in the Pacific covered, showing the valiant effort by the Chinese to stop the Japanese. Also featured are General Claire Lee Chennault's famous Flying Tigers, the American Volunteer Group who had joined the battle to defend China. This 67-minute black & white 1944 documentary is narrated by writer Anthony Veiller (Walter Houston just does the voice of Abraham Lincoln this time) and Anatole Litvak served as an uncredited co-director.

The "Why We Fight" series is the supreme example of propaganda put out by the U.S. government during World War II. Capra, a major in the U.S. Army Signal Corps, was commissioned to make a series of short documentaries that would explain the policy of the U.S. government to the troops that were being hastily assembled, trained, and sent overseas to fight. But the "Why We Fight" series proved so effective it was eventually shown in theaters to the American public. In 2000 the "Why We Fight" series was added to the Library of Congress National Film Registry and remains a prime source of archival footage for the period.

The "Why We Fight" series turns to the Pacific Theater
The first five volumes in Frank Capra's celebrated "Why We Fight" series focused on Hitler's Nazis overrunning Europe in the first half of World War II. "The Battle of China: The Assault on the Great Wall" shifts the focus to the Chinese defense against Japanese aggression. Like the previous chapter, "The Battle of Russia," an important part of the intent here is to establish a sense of identification between the American people with a foreign ally, although Capra does not have to gloss over the political ideology of the Chinese the same way he did with the Communist Soviets.

This explains why this chapter provides a brief history of China and its people and then details why the Japanese wanted to conquer the country, namely getting the raw materials and slave labor necessary for taking over all of Asia. The War in the Pacific covered, showing the valiant effort by the Chinese to stop the Japanese. Also featured are General Claire Lee Chennault's famous Flying Tigers, the American Volunteer Group who had joined the battle to defend China. This 67-minute black & white 1944 documentary is narrated by writer Anthony Veiller (Walter Houston just does the voice of Abraham Lincoln this time) and Anatole Litvak served as an uncredited co-director. In the next volume, "War Comes to America," the Japanese attack on Pearl Harbor brings the United States into the war.

The "Why We Fight" series is the supreme example of propaganda put out by the U.S. government during World War II. Capra, a major in the U.S. Army Signal Corps, was commissioned to make a series of short documentaries that would explain the policy of the U.S. government to the troops that were being hastily assembled, trained, and sent overseas to fight. But the "Why We Fight" series proved so effective it was eventually shown in theaters to the American public. In 2000 the "Why We Fight" series was added to the Library of Congress National Film Registry and remains a prime source of archival footage for the period.

Very good video.
This video explain why Japan wanted to conquer China and how China united in their war against Japan. And it shows the horrors of the war. I thought it was a very good video. ... Read more

Reviews (61)

CLARK + CLAUDETTE = FUN~~~~~~~~~~~~~~~~~~*
What a great film ! The chemistry and dialogue that exists between Claudette Colbert and Clark Gable is amazingly BRILLIANT and FUNNY! This is the type of black and white film that can be watched forever and ever and never seem "dated" and out of touch w/recent times: after all, its been almost 7O years since this movie was made and it still ranks up there w/ some of the best comedies of today! I wasn't even born when the movie was made but I enjoyed it so much, I wanted to watch it again and again! If that doesn't convince you, this video won 5 Oscars: Best Actor (GABLE), Best Actress (COLBERT), Best Picture, Best Director, and Best Screenplay!!

Here's a little summary for those who don't know what its about. Claudette Colbert plays Ellie Andrews, a rich, spoiled heiress running away from her family. During the trip, on a bus, she meets street-smart reporter Peter Warne, played by the handsome Clark Gable. Ellie is definitely NOT street-smart, and she's having a few problems, so Peter agrees to help her out and travel w/ her in exchange for an exclusive story. They go through many adventures together, despising each other along the way, until they find that they are reluctantly falling in love and afraid to admit it to each other...besides its a little bit more complicated since she's a married woman. AN EXCELLENT FILM, WITH A PERFECT ENDING-ONE OF GABLE'S BEST!! I GIVE IT A PERFECT 5 STARS!! AAA+++++

Simply The Best
I don't claim be a movie expert, but this is the best film I have ever seen. I already owned a VHS copy, but on buying a DVD player I paid good money to have this disc shipped to me in England - and boy was it worth it! The picture quality is as good as you will find anywhere and the sound is superb too. The DVD is also jam-packed with extra features. The film's commentary is provided by Frank Capra Jr. He has a wonderfully relaxed style and doesn't just sound as if he's reading from a prepared script. Along with Ron Howard's commentary for Apollo 13, this is the best DVD commentary I have heard to date. A special feature unique amongst DVDs must be the radio version of 'It Happened One Night', first broadcast in 1939, again starring Claudette Colbert and Clark Gable. Whoever had the idea of including this on the DVD deserves a salary rise. The disc also includes trailers, cast lists, some beautifully illustrated posters and also a Frank Capra Jr introduction. This really is an extremely impressive package of Frank Capra's masterpiece.

"Excuse me lady, but that upon which you sit is mine."
Peter Warne: Why didn't you take off all your clothes? You could have stopped forty cars.
Ellie Andrews: Well, ooo, I'll remember that when we need forty cars.

On-screen chemistry has the ability to turn a good film into something special. Look no further than Frank Capra's "It Happened One Night" for proof of this. Whoever came up with the idea of pairing Clark Gable and Claudette Colbert together in this production certainly earned his or her paycheck.

Rich girl Ellie Andrews (Colbert) runs away from her father so that she can be with her one true love, King Westley (Jameson Thomas). Ellie has little knowledge of how the outside world works so she hooks up with reporter Peter Warne (Gable) who offers to help her reach New York in return for the exclusive rights to her story. The pair finds each other intolerable at the outset but as they spend more time together, their opinions of each other start to change. By the time they arrive in New York, Ellie and Peter must decide if they should act upon the newfound affection they have developed towards one another.

"It Happened One Night" is effectively funny and romantic at the same time. The out-of-the-way situations Ellie and Peter find themselves involved in is screwball comedy at its finest and the love that develops between them is Hollywood magic at its most charming. Colbert and Gable show why they were two of the biggest stars of their era and the chemistry they display on screen still is magnetic to this very day. "It Happened One Night" is also a fascinating cultural text due to its suggestive sexual overtones and its vivid depiction of a woman who is determined to take matters into her own hands when the situation calls for it. Both of these aspects are especially noteworthy when one considers the period in which the film was made. Yet, if "It Happened One Night" is to be remembered for anything, it should be remembered for the classic that it is. After all, when you speak of pure cinematic bliss, you speak of scenes like the one where Ellie flashes her thigh to stop an approaching car - truly one of the greatest moments ever caught on film.

It doesn't get any better than this ...
70 years later, this movie still holds up beautifully. It's funny, smart, and, man! those sexy, charming leads! I'd ride a bus with Clark Gable and Claudette Colbert anywhere ...

This ones recommended for everyone -- old people, young people ... It hasn't aged, and it'll always be a good time.

A classic that deserves to endure
A spoiled socialite (Claudette Colbert) flees her wealthy father (Walter Connolly) and heads for New York to marry a rich playboy (Jameson Thomas) against her father's will. The whereabouts of Ellie Andrews and the reward for her return become the stuff of national headlines, so when recently fired reporter Peter Warne (Clark Gable) recognizes her, he decides to stick close so he can write the story. Naturally, romance follows, but it's a bumpy and hugely entertaining road to get there.

This is an absolutely wonderful film. It's such a shame that so many people are not interested in watching an old black-and-white movie. Good work is timeless. Gable and Colbert have wonderful chemistry and are both hilarious and touching. The rest of the cast is excellent as well. Even though the story is set during the Great Depression, it doesn't seem dated at all. The wisecracking between characters is sharp and well-written (by screenwriter Robert Riskin); there are lots of laugh-out-loud moments during this film. It's also pretty racy and suggestive for its time, with a genuinely affecting climax. Another level of interest is added by the careful attention that director Frank Capra pays to the depression-era milieu; Colbert's character really doesn't understand the plight of the common man, but Gable's hard-bitten reporter is all too aware of the hard times that people are going through. This adds a fascinating sociological dimension. ... Read more

Reviews (3)

Bell Science Films series
I totally agree with all who loved these Bell Science films series. yes, I was in Jr. High when I started to see these films in my school in the early 60's. Then I had a friend who owned a 16mm projector, and with my mother working at Ma Bell in my city at the time, who had access to the film catalog, would rent these 8 films, one at a time, in this series and my friend and I would watch these over and over again. We would get great information and education from these films and with Richard Carlson and Frank Baxter doing the "storytelling" in these films, was an absolute treat and a half. Too bad Rhino discontinued these rare treasures.

Cheers to Star-Dust!
To set the context for my review, I saw this film as a seventh grade student in Mr. Ewall's science class at Harding Junior High School, Philadelphia, Pennsylvania, in 1966. I fell in love with it then, and find it evermore endearing now.

When I first saw the "Stange Case of the Cosmic Rays," I immediately fell in love with it. I loved the way it made concepts in atomic and nuclear physics readily accessible to a seventh grader. I throughly enjoyed the way Dr. Baxter employed the scientific method and the powers of deduction (after all this is a detective story) to a problem as simple as the robbery from the "Electron Bank of the Universe," and derived the nature of the fundamental particles and forces out of which our universe is built. This is heady stuff for anyone particularly a seventh grader. Yet "The Strange Case of the Cosmic Rays" made itself so endearing to science students of my generation through its use of animation, sound track and whips and quips from Dostoevski, Dickens and Poe's raven.

Thirty-four years later and this film has not lost its charm. Yes, it's dated, but the fundamentals it emphasizes still ring true. No, it doesn't use the special effects we have come to know, but what it lacks in special effects, it more than compensates with clarity, repartee and theme development. These factors combine to make an engaging film that's a joy to experience, be you geek, space cadet, or just someone how wants to see the opening chapters of one of the longest running detective stories.

If you haven't seen this film, see it! If you don't have this film in your collection, buy it today! Your mind will love you forever!

Betty Boop+cosmic rays?
As a cosmic-ray physicist, this videotape is amusing not only for its well-presented (though rather outdated) science but also for the shear novelty of its existence. After all, what we have here is the animation of the creator of Betty Boop, a Frank Capra production, an E. A. Poe commenting on the literary merits of cosmic rays, and a pair of very 1950s stereotypical scientists. All in one film. Less than $10. If you're a science geek, this is a must-have. ... Read more

Reviews (9)

American Propoganda
These movies were perfect for the US troops in World War II. They caused anger in the troops. It made them want to fight.

As for being of historical value - well... they aren't. Take anything you watch with a grain of salt. Some of it may be true, some is not correct at all. The Americans use basic propoganda techniques like constantly repeating what Hitler said, and then showing what he did. The movies don't bother to tell how the political climate had changed and Hitler had been forced to act against what he had originally promised.

I'm a history professor at a well-established university (sorry, can't tell you which one... anonymity is key to survival). I would not use this to teach my classes. The real facts are very different from what the movies portray.

As I said... They served their purpose to boost morale in the troops back in 1944-45... but to the general public it is just hogwash.

The opening volume in Frank Capra's "Why We Fight" series
The famous "Why We Fight" documentary series was produced by Frank Capra when he was a major in the U.S. Army Signal Corps. The series was commissioned by Army Chief of Staff, General George C. Marshall, as a way of indoctrinating all the troops who signed up in the wake of Pearl Harbor and the declaration of war. The idea was to make it clear we were doing more than just remembering Pearl Harbor as we mobilized for a war to be fought across two oceans . Eventually the series was shown to the public in theaters across the country.

"Prelude to War," the introductory film in the "Why We Fight" series covers the events leading up to the Second World War, focusing on the rise of Fascism in Italy and Germany, the Japanese attacks on Manchuria, and the United States' lack of military preparedness. The last is particularly interesting because it implicitly explains Pearl Harbor not as a Japanese victory, but rather as an American defeat (we lost rather than they won).

This first chapter in the "Why We Fight" series defines World War II in black and white terms as the totalitarian worldwide conspiracy threatens to turn the free world into a slave world. Admittedly a propaganda film, this 1942 documentary is quite informative, explaining about Hitler's book "Mein Kampf," Lebensraum, the Tanaka Plan, the London Naval Treaty, the Kellogg-Briand Pact, the Nuremberg Laws, and even such details as the Roman fasces.

This 54-minute black & white film won the Academy Award for best documentary in 1942 and the series as a whole is credited with redefining the documentary as an art form. Of great historical value, it must be underscored that "Prelude to War" is not exactly propaganda in the most pejorative sense of the term. The film's great "sin" along those lines is that it makes the case that public opinion was moving in the direction of joining the war. Instead of dismissing this film and Capra's efforts as the American counterpart to what Goebbels was doing in Nazi Germany, it is more accurate to think of it as being the film equivalent of a prosecutor's speech in a trial. "Prelude to War" makes much better use of evidence without the radical distortion you usually find in classic examples of propaganda.

"Prelude to War," the first volume of Capra's "Why We Fight"
As you probably know, the "Why We Fight" series was produced by Frank Capra when he was a major in the U.S. Army Signal Corps. The series was commissioned by Army Chief of Staff, General George C. Marshall, as a way of indoctrinating all the troops who signed up in the wake of Pearl Harbor and the declaration of war. The idea was to make it clear we were doing more than just remembering Pearl Harbor. Eventually the series was shown to the public in theaters across the country. "Prelude to War," the introductory film in the "Why We Fight" series covers the events leading up to the Second World War, focusing on the rise of Fascism in Italy and Germany, the Japanese attacks on Manchuria, and the United States' lack of military preparedness. The last is particularly interesting because it implicitly explains Pearl Harbor not as a Japanese victory, but rather as an American defeat (we lost rather than they won).

"Prelude to War" defines World War II in black and white terms as the totalitarian worldwide conspiracy threatens to turn the free world into a slave world. Admittedly a propaganda film, this 1942 documentary is quite informative, explaining about Hitler's book "Mein Kampf," Lebensraum, the Tanaka Plan, the London Naval Treaty, the Kellogg-Briand Pact, the Nuremberg Laws, and even such details as the Roman fasces.

This 54-minute black & white film won the Academy Award for best documentary in 1942 and the series as a whole is credited with redefining the documentary as an art form. Of great historical value, it must be underscored that "Prelude to War" is not exactly propaganda in the most pejorative sense of the term. The film's great "sin" along those lines is that it makes the case that public opinion was moving in the direction of joining the war. Instead of dismissing this film and Capra's efforts as the American counterpart to what Goebbels was doing in Nazi Germany, it is more accurate to think of it as being the film equivalent of a prosecutor's speech in a trial. "Prelude to War" makes much better use of evidence without the radical distortion you usually find in classic examples of propaganda.

Frank Capra's documentary on the origins of World War II
As you probably know, the "Why We Fight" series was produced by Frank Capra when he was a major in the U.S. Army Signal Corps. The series was commissioned by Army Chief of Staff, General George C. Marshall, as a way of indoctrinating all the troops who signed up in the wake of Pearl Harbor and the declaration of war. The idea was to make it clear we were doing more than just remembering Pearl Harbor. Eventually the series was shown to the public in theaters across the country. "Prelude to War," the introductory film in the "Why We Fight" series covers the events leading up to the Second World War, focusing on the rise of Fascism in Italy and Germany, the Japanese attacks on Manchuria, and the United States' lack of military preparedness. The last is particularly interesting because it implicitly explains Pearl Harbor not as a Japanese victory, but rather as an American defeat (we lost rather than they won).

"Prelude to War" defines World War II in black and white terms as the totalitarian worldwide conspiracy threatens to turn the free world into a slave world. Admittedly a propaganda film, this 1942 documentary is quite informative, explaining about Hitler's book "Mein Kampf," Lebensraum, the Tanaka Plan, the London Naval Treaty, the Kellogg-Briand Pact, the Nuremberg Laws, and even such details as the Roman fasces.

This 54-minute black & white film won the Academy Award for best documentary in 1942 and the series as a whole is credited with redefining the documentary as an art form. Of great historical value, it must be underscored that "Prelude to War" is not exactly propaganda in the most pejorative sense of the term. The film's great "sin" along those lines is that it makes the case that public opinion was moving in the direction of joining the war. Instead of dismissing this film and Capra's efforts as the American counterpart to what Goebbels was doing in Nazi Germany, it is more accurate to think of it as being the film equivalent of a prosecutor's speech in a trial. "Prelude to War" makes much better use of evidence without the radical distortion you usually find in classic examples of propaganda.

Frank Capra explains to Americans how World War II started
As you probably know, the "Why We Fight" series was produced by Frank Capra when he was a major in the U.S. Army Signal Corps. The series was commissioned by Army Chief of Staff, General George C. Marshall, as a way of indoctrinating all the troops who signed up in the wake of Pearl Harbor and the declaration of war. The idea was to make it clear we were doing more than just remembering Pearl Harbor. Eventually the series was shown to the public in theaters across the country. This introductory film in the "Why We Fight" series covers the events leading up to the Second World War, focusing on the rise of Fascism in Italy and Germany, the Japanese attacks on Manchuria, and the United States' lack of military preparedness. The last is particularly interesting because it implicitly explains Pearl Harbor not as a Japanese victory, but rather as an American defeat (we lost rather than they won). "Prelude to War" defines World War II in black and white terms as the totalitarian worldwide conspiracy threatens to turn the free world into a slave world. Admittedly a propaganda film, this 1942 documentary is quite informative, explaining about Hitler's book "Mein Kampf," Lebensraum, the Tanaka Plan, the London Naval Treaty, the Kellogg-Briand Pact, the Nuremberg Laws, and even such details as the Roman fasces.

This 54-minute black & white film won the Academy Award for best documentary in 1942 and the series as a whole is credited with redefining the documentary as an art form. Of great historical value, it must be underscored that "Prelude to War" is not exactly propaganda in the most pejorative sense of the term. The film's great "sin" along those lines is that it makes the case that public opinion was moving in the direction of joining the war. Instead of dismissing this film and Capra's efforts as the American counterpart to what Goebbels was doing in Nazi Germany, it is more accurate to think of it as being the film equivalent of a prosecutor's speech in a trial. "Prelude to War" makes much better use of evidence without the radical distortion you usually find in classic examples of propaganda. ... Read more

Reviews (6)

Stanwyck and Capra outdo themselves
This was the first film to open at Radio City Music Hall in 1933, and it was so far ahead of its time it was a popular failure. It will probably remind of you nothing like Frank Capra's later films, but it's probably his most lyrical and sensitive work--there's no question that it's a masterpiece. Set in China during the "warlord period" of the late 20s and early 30s, the film concerns the strange abduction of a New England missionary (played by Barbara Stanwyck) and a cruel but highly cultured Chinese general (played by a Nils Asther, of all people, a Scandinavian). As the general tries to woo the missionary, her conflicted feelings for him come to the forefront--while all the while the warlord's political fortunes begin to crumble.

Stanwyck was never so subtle as she is here--she plays Megan as moral, tender, and conflicted, but not in the least bit prissy (she is that rarest of creatures, a genuinely virtuous woman). As Asther manages to breathe real depth into what could have otherwise been a racial caricature: although the film still wince-inducingly reminds us, at times, that it is a product of its period in some ways (as in its depiction of the treacherous Mah-Li), nonetheless it confronts head-on the racist stereotypes of white colonialists in China. The final scene between the two leads is absolutely stunning--you won't be prepared for where the film takes the characters, and yet in a strange way it all makes a wondrous kind of dream-like sense. Do yourself a favor and watch this film--it's really one-of-a-kind.

A very different Frank Capra film...
Frank Capra's groundbreaking story of an interracial romance between a Catholic missionary in wartorn China (played by a gorgeous young Barbara Stanwyck) and a cruel, haughty Chinese warlord, played -- in the style of the time -- by a white guy. It's a very unusual film, and much different than most other Capra classics. To begin with, the story takes place outside of the director's usual Middle-America tromping grounds, and his dramatizations of the bloodshed and chaos taking place in Asia are pretty amazing... Hard-hitting stuff for a still-isolationist nation to sit through, but material Capra would sucessfully revisit in his WWII propaganda films. The main story, though, is about two people struggling to bridge a deep racial divide -- although the film is rife with sterotypes, Capra clearly meant to project a progressive image onto his characters. It may be a little difficult for modern audiences to passively sit through some of the dialogue, but the film's still a fascinating snapshot of its times, worth considering on a variety of levels. The cinematography and set design are also both quite stunning.

Capra's unforgettable masterpiece!
The Bitter Tea of General Yen is one of the greatest love stories to ever come out of Hollywood. Moody and mystical. Haunting and poetic. Sensitive and seductive. Unpredictable and utterly unforgettable. Nils Asther gives the performance of a lifetime as the arrogantly gorgeous and sophisticated General Yen. If only there were more men in the world like this. Sigh. Barbara Stanwyck as the lovely missionary Megan Davis never looked as innocently beautiful again as she does in this film. Capra fills the screen with lavish sets, dreamy lighting and rich romantic action. His very best film ever! My favorite movie of all time! Watch and be enchanted!

A mysterious, hauntingly beautiful film ahead of its time
This film will always mystify me as it doesn't seem to fit into any real period of Hollywood history. Barbara Stanwyck herself said in later years that the whole idea of the film was years ahead of its time upon release. This does go part of the way towards explaining why it was banned in England and Australia upon release and strongly criticised for its content. Time has luckily redeemed this wonderful production and today it is much more respected for its own merits.

I appreciate the film not only for the very very daring subject matter that it tackled for the time but also for the absolutely beautiful sets and costumnes . Indeed the whole production has a rich, other worldly quality to it that makes the film a memorable viewing experience.

The cast of this production is top notch. Barbara Stanwyck, always one of my favorite actresses has one of her very early memorable roles as the young missionary abducted by the mysterious and sensual General Yen, played by silent star Nils Asher. He is particularly effective in his role turning Yen from being just a one dimensional villian into someone who you almost start to feel for. Asher didn't seem to do too much work in the sound era but he is very effective in this characterisation.

Like the other reviewers I was stunned by the very original dream sequence which first reveals Stanwyck's secret passion for General Yen. Considered shocking in it's time today it simply strikes me as being very originally done and very different to anything that would appear in a film of that time.

"The Bitter Tea of General Yen" is a lyrical, hauntingly beautiful production that continues to intrigue me. I strongly recommend it as a great piece of early 30's film making done on a very adult and sensitive level

STANWYCK AND CAPRA
Stanwyck plays her victimized role with aplomb and shines most brightly in the dream sequences where she envisions Asther as her lover. The subject of interracial love was taboo when Capra made this unusual film; miscegenation was a real bugbear then. It was unthinkable for a white woman to wind up in the arms of a Chinese even one as sophisticated as Asther portrays. This film was banned in England because of it's racial issues and Asther, once a silent star, did very few films and none of any consequence after this one. Walter Connolly, who is seen on crutches, played with them because he actually broke his leg when he fell out of a boxcar during production! ... Read more

Product Description

Coper is at his Low key best as a naive homeless man whose declaration to kill himself to protest world conditions, causes a media frenzy an unwanted celebrity status, along with some life affirming moments. ... Read more

Reviews (26)

Gary Cooper as the American Everyman in Capra's classic
"Meet John Doe" is clearly the most political of director Frank Capra's "Capracorn" films, even more than "Mr. Smith Goes to Washington" or "State of the Union." Newspaper columnist Ann Mitchell (Barbara Stanwyck in a rare "good girl role") is fired and prints a phony letter in her final column about a man who is going to commit suicide on Christmas Eve to protest the misery and corruption afflicting the county. The letter is signed "John Doe." The letter causes a sensation and it becomes necessary for Ann to produce "John Doe." She basically holds auditions and settles on Long John Willoughby (Gary Cooper), a starving bush league pitcher whose arms has gone bad. Ann continues to write article in the name of John Doe, calling on everyone to love their neighbor and the like. This only increases the fan mail and the best scene of the film she writes "John Doe" a speech to read on the radio, inspired by the words of her father.

As "John" himself gets caught up in the speech and its response, Ann is totally enraptured by the moment. This all might be a giant con game, but Ann is a true believer. Then the powerful publishing magnate, D. B. Norton (Edward Arnold), throws his support behind the John Doe clubs because he wants them to hold a convention where "John" will nominate him as a third party candidate for the presidency. Obviously Norton is some sort of American fascist, and when "John" refuses to play along, Norton publicly exposes him to the mob. All that is left to "John" is to fulfill the original promise of the first letter and commit suicide on Christmas Eve.

Cooper and Capra had enjoyed success before with "Mr. Deeds Goes to Town," but this is the much better film. Cooper's performance in this 1940 film is certainly Oscar worthy, but his next film was "Sergeant York" and that was the film that won the actor his first Academy Award. Stanwyck's performance is just as good, proving she could do more than film noir bad girls. Like most of Capra's great works, including "It's A Wonderful Life," the mythic structure is clearly that of the crucifixion and resurrection (think about it). The symbolic "death" of John Doe is arguably the most painful in any of Capra's films and the character's "resurrection" is definitely the most believable. Capra originally had a darker ending than what was provided, but we all know that really would have gone against his grain. Again, the supporting cast for Capra's film is absolutely stellar, with Edward Arnold, Walter Brennan, James Gleason, Spring Byington, Gene Lockhart, and Steling Holloway all getting the most out of Robert Riskin's screenplay. "Meet John Doe" is definitely a classic Frank Capra film.

Gary Cooper as the American Everyman in Capra's classic
"Meet John Doe" is clearly the most political of director Frank Capra's "Capracorn" films, even more than "Mr. Smith Goes to Washington" or "State of the Union." Newspaper columnist Ann Mitchell (Barbara Stanwyck in a rare "good girl role") is fired and prints a phony letter in her final column about a man who is going to commit suicide on Christmas Eve to protest the misery and corruption afflicting the county. The letter is signed "John Doe." The letter causes a sensation and Ann gets her job back, but it becomes necessary for her to produce "John Doe" to the skeptics. She basically holds auditions for the role and settles on Long John Willoughby (Gary Cooper), a starving bush league pitcher whose arms has gone bad.

Ann continues to write article in the name of John Doe, calling on everyone to love their neighbor and the like. This only increases the fan mail and in the best scene of the film she writes "John Doe" a speech to read on the radio, inspired by the words of her father. As "John" himself gets caught up in the speech and its response, Ann is totally enraptured by the moment. This all might be a giant con game, but Ann is now a true believer in the fiction she has created. But at that point the powerful publishing magnate, D. B. Norton (Edward Arnold), throws his support behind the John Doe clubs because he wants them to hold a convention where "John" will nominate him as a third party candidate for the presidency. Obviously Norton is some sort of American fascist, and when "John" refuses to play along, Norton publicly exposes him to the mob in a devastating fashion. All that is left to "John" is to fulfill the original promise of the first letter and commit suicide on Christmas Eve.

Cooper and Capra had enjoyed success before with "Mr. Deeds Goes to Town," but this is the much better film by far. Cooper's performance in this 1940 film is certainly Oscar worthy, but his next film was "Sergeant York" and that was the film that won the actor his first Academy Award. Stanwyck's performance is just as good, proving she could do more than film noir bad girls. Like most of Capra's great works, including "It's A Wonderful Life," the mythic structure is clearly that of the crucifixion and resurrection (think about it). The symbolic "death" of John Doe is arguably the most painful in any of Capra's films and the character's "resurrection" is definitely the most believable. Capra originally had a darker ending than what was provided, but we all know that really would have gone against his grain. Again, the supporting cast for Capra's film is absolutely stellar, with Edward Arnold, Walter Brennan, Spring Byington, Gene Lockhart, Sterling Holloway, and especially James Gleason as Ann's newspaper editor, all getting the most out of Robert Riskin's screenplay. "Meet John Doe" is definitely a classic Frank Capra film.

weak
This movie was a weak effort by Capra, who directed it, and the star, Gary Cooper. It's a good story, just poorly directed (Capra can't hit a home run every time). I found the acting very wooden and the movie seemed to just drag on and on. And no extra features on the dvd, at least none to speak of.

It's My All Time Favorite
This, in my opinion, is Capra at his best. If you liked (or even loved) 'It's A Wonderful Life', then this will not disappoint you. The end is the best, as in all of Capra's films, depicting the endearing belief in the goodness of the common man. He could not have ended this movie any other way, it was a perfect end to a perfect movie. Gary Cooper is superb in this role, a man pretending to be something he is not, then beginning to believe he is the part he is playing. You can't help but feel the same way. You can't help but loathe the sinister character, and you hope the girl will come to her senses, and get the guy, as well. It is very heartfelt and touches on the golden rule in the most endearing way. This is a must see, for those who need help with and for those who truly do love their neighbor.

Great Movie--BAD copy
The movie (story, actors, actresses, etc) was SUPER! Another great Capra movie but the quality is awful. Don't expect good, clear Turner Classic Movie Channel quality. In some spots the background is so bright you can't even see the faces of the actors. I'm going to buy a good version of this eventually because it is worth the extra money! BUY BETTER QUALITY!! ... Read more

Product Description

Coper is at his Low key best as a naive homeless man whose declaration to kill himself to protest world conditions, causes a media frenzy an unwanted celebrity status, along with some life affirming moments. ... Read more

Reviews (26)

Gary Cooper as the American Everyman in Capra's classic
"Meet John Doe" is clearly the most political of director Frank Capra's "Capracorn" films, even more than "Mr. Smith Goes to Washington" or "State of the Union." Newspaper columnist Ann Mitchell (Barbara Stanwyck in a rare "good girl role") is fired and prints a phony letter in her final column about a man who is going to commit suicide on Christmas Eve to protest the misery and corruption afflicting the county. The letter is signed "John Doe." The letter causes a sensation and it becomes necessary for Ann to produce "John Doe." She basically holds auditions and settles on Long John Willoughby (Gary Cooper), a starving bush league pitcher whose arms has gone bad. Ann continues to write article in the name of John Doe, calling on everyone to love their neighbor and the like. This only increases the fan mail and the best scene of the film she writes "John Doe" a speech to read on the radio, inspired by the words of her father.

As "John" himself gets caught up in the speech and its response, Ann is totally enraptured by the moment. This all might be a giant con game, but Ann is a true believer. Then the powerful publishing magnate, D. B. Norton (Edward Arnold), throws his support behind the John Doe clubs because he wants them to hold a convention where "John" will nominate him as a third party candidate for the presidency. Obviously Norton is some sort of American fascist, and when "John" refuses to play along, Norton publicly exposes him to the mob. All that is left to "John" is to fulfill the original promise of the first letter and commit suicide on Christmas Eve.

Cooper and Capra had enjoyed success before with "Mr. Deeds Goes to Town," but this is the much better film. Cooper's performance in this 1940 film is certainly Oscar worthy, but his next film was "Sergeant York" and that was the film that won the actor his first Academy Award. Stanwyck's performance is just as good, proving she could do more than film noir bad girls. Like most of Capra's great works, including "It's A Wonderful Life," the mythic structure is clearly that of the crucifixion and resurrection (think about it). The symbolic "death" of John Doe is arguably the most painful in any of Capra's films and the character's "resurrection" is definitely the most believable. Capra originally had a darker ending than what was provided, but we all know that really would have gone against his grain. Again, the supporting cast for Capra's film is absolutely stellar, with Edward Arnold, Walter Brennan, James Gleason, Spring Byington, Gene Lockhart, and Steling Holloway all getting the most out of Robert Riskin's screenplay. "Meet John Doe" is definitely a classic Frank Capra film.

Gary Cooper as the American Everyman in Capra's classic
"Meet John Doe" is clearly the most political of director Frank Capra's "Capracorn" films, even more than "Mr. Smith Goes to Washington" or "State of the Union." Newspaper columnist Ann Mitchell (Barbara Stanwyck in a rare "good girl role") is fired and prints a phony letter in her final column about a man who is going to commit suicide on Christmas Eve to protest the misery and corruption afflicting the county. The letter is signed "John Doe." The letter causes a sensation and Ann gets her job back, but it becomes necessary for her to produce "John Doe" to the skeptics. She basically holds auditions for the role and settles on Long John Willoughby (Gary Cooper), a starving bush league pitcher whose arms has gone bad.

Ann continues to write article in the name of John Doe, calling on everyone to love their neighbor and the like. This only increases the fan mail and in the best scene of the film she writes "John Doe" a speech to read on the radio, inspired by the words of her father. As "John" himself gets caught up in the speech and its response, Ann is totally enraptured by the moment. This all might be a giant con game, but Ann is now a true believer in the fiction she has created. But at that point the powerful publishing magnate, D. B. Norton (Edward Arnold), throws his support behind the John Doe clubs because he wants them to hold a convention where "John" will nominate him as a third party candidate for the presidency. Obviously Norton is some sort of American fascist, and when "John" refuses to play along, Norton publicly exposes him to the mob in a devastating fashion. All that is left to "John" is to fulfill the original promise of the first letter and commit suicide on Christmas Eve.

Cooper and Capra had enjoyed success before with "Mr. Deeds Goes to Town," but this is the much better film by far. Cooper's performance in this 1940 film is certainly Oscar worthy, but his next film was "Sergeant York" and that was the film that won the actor his first Academy Award. Stanwyck's performance is just as good, proving she could do more than film noir bad girls. Like most of Capra's great works, including "It's A Wonderful Life," the mythic structure is clearly that of the crucifixion and resurrection (think about it). The symbolic "death" of John Doe is arguably the most painful in any of Capra's films and the character's "resurrection" is definitely the most believable. Capra originally had a darker ending than what was provided, but we all know that really would have gone against his grain. Again, the supporting cast for Capra's film is absolutely stellar, with Edward Arnold, Walter Brennan, Spring Byington, Gene Lockhart, Sterling Holloway, and especially James Gleason as Ann's newspaper editor, all getting the most out of Robert Riskin's screenplay. "Meet John Doe" is definitely a classic Frank Capra film.

weak
This movie was a weak effort by Capra, who directed it, and the star, Gary Cooper. It's a good story, just poorly directed (Capra can't hit a home run every time). I found the acting very wooden and the movie seemed to just drag on and on. And no extra features on the dvd, at least none to speak of.

It's My All Time Favorite
This, in my opinion, is Capra at his best. If you liked (or even loved) 'It's A Wonderful Life', then this will not disappoint you. The end is the best, as in all of Capra's films, depicting the endearing belief in the goodness of the common man. He could not have ended this movie any other way, it was a perfect end to a perfect movie. Gary Cooper is superb in this role, a man pretending to be something he is not, then beginning to believe he is the part he is playing. You can't help but feel the same way. You can't help but loathe the sinister character, and you hope the girl will come to her senses, and get the guy, as well. It is very heartfelt and touches on the golden rule in the most endearing way. This is a must see, for those who need help with and for those who truly do love their neighbor.

Great Movie--BAD copy
The movie (story, actors, actresses, etc) was SUPER! Another great Capra movie but the quality is awful. Don't expect good, clear Turner Classic Movie Channel quality. In some spots the background is so bright you can't even see the faces of the actors. I'm going to buy a good version of this eventually because it is worth the extra money! BUY BETTER QUALITY!! ... Read more

Reviews (5)

The final chapter of Frank Capra's "Why We Fight" series
"War Comes to America" is the seventh and final episode in the celebrated "Why We Fight Series" produced by Frank Capra during World War II. Anatole Litvak was the uncredited co-director of this chapter, with music by Alfred Newman, and actors Walter Huston and Lloyd Nolan provided the narration for this 67-minute black & white documentary produced in 1945 as the war was ending. Capra served as a major in the U.S. Army Signal Corps and was commissioned by Army Chief of Staff General George C. Marshall to make a series of films that would explain the government's policy to the troops hastily being assembled, trained, and sent overseas. Eventually the "Why We Fight" series was shown to the public in theaters. At the end of the war Capra also made a pair of films for the occupation forces, "Your Job in Germany" and "Know Your Enemy: Japan."

This final installment celebrates the good qualities of the United States and establishes those things worth fighting for. "War Comes to America" also looks at the history of the United States and traces how the shifting opinion of the public towards supporting the Allies against the Axis forces was clearly shifting in that direction when the Japanese attacked Pearl Harbor. As such the film presents the mood of the American people on the eve of World War II and how the isolationist position changed in reaction to the aggressive policies of the Axis powers (a.k.a. "Death, Inc.") as traced in a revealing series of Gallup Polls. There is also a summary of Japanese aggression from the invasion of Manchuria to Pearl Harbor.

This particular chapter is one of the most interesting because Capra is going out of his way to present America as an inclusive society when Hungarians, Portuguese, American Negroes and Chinamen all work together, although it is interesting that the first two are shown more often and more progressively than the latter pair. Even Germans and Italians are included in the mix, but not the Japanese, which is not surprising given the internment camps in California (which were actually called concentration amps at the time). But we do see an indictment of activities of the German American Bund as well. The perspective here is decidedly liberal, seeing the U.S.A. as a nation proud of having trade unions and capable of correcting mistakes like Prohibition. While covering December 7, 1941, the day that "will live in infamy," Capra ends with the uplifting music of Gershwin's "Rhapsody in Blue" and the idea of an inevitable Allied victory. In 2000 the "Why We Fight" series was added to the Library of Congress National Film Registry and this last chapter just reinforces why.

The final installment of Frank Capra's "Why We Fight" series
"War Comes to America" is the seventh and final episod