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 (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 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 in 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 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 in 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. ... 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 (2)

Frank Capra documents the R.A.F.'s defense of Britain
"The Battle of Britain" was the fourth part of Frank Capra's celebrated "Why We Fight" series. Made during World War II when Capra was a major in the U.S. Army Signal Corps, these documentaries are the supreme example of American propaganda during World War II (the term "propaganda" being used in the neutral sense that existed at the time, not the pejorative it received because of Josef Goebbels Ministry of Propaganda in Nazi Germany).

Originally the films were used to explain the government's policy to the troops that were hastily assembled after Pearl Harbor to be trained and sent overseas to fight. You have to remember that American had been an isolationist nation in the period between the two world wars and what Capra does that is so masterful is convince viewers that Americans were leaning towards supporting the English and entering the war before the Japanese attack made the matter moot. Eventually the "Why We Fight" series was shown to the public in theaters and today they remain a prime source of archival footage for the period.

"The Battle of Britain" was released in 1943 and is one of the transitional volume in the series with regards to the war in Europe as the British make a desperate last stand against the Nazi Luftwaffe. This 54-minute black & white documentary is narrated by Walter Huston and starts with Hitler entering Paris and then looking across the English Channel at his next victim. Inspired by the speeches of Winston Churchill, the presence of King George VI and Queen Elizabeth, and the fighter pilots of the Royal Air Force, the British simply refused to quit in the face of an onslaught of air attacks of the Blitz.

Writer Anthony Veiller ("Stage Door," "The Killers") worked as an uncredited director on "The Battle of Britain" along with Capra. "The Battle of Britain" is followed by "The Battle of Russia," which Hitler betrays his Soviet allies and forces his army to fight a two front war. In 2000 the "Why We Fight" series was added to the Library of Congress National Film Registry.

Great Video
This video starts after Germany conquered France and ready to conquer England. This shows England's toughness and determiation against an nearly invincible army and airforce. Also shows how Hitler plan to conquer England.

The video showed how speed can beat size and how determined people can beat a tyrant. This is Great Video on this chapter of World War II. ... 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

Description

A Cinderella fairy tale set in the early 1930s, Lady for a Day is a delightfully charming mix of drama and comedy that earned four Academy Award nominations and propelled Frank Capra to the top ranks of popular filmmakers. Based on a Damon Runyon short story, Lady for a Day tells the tale of Apple Annie, a cantankerous New York City fruit peddler who has been pretending to be a high-society matron in letters to her daughter. When her daughter comes to visit with her aristocratic fiance, Apple Annie enlists her seedy gangster friends, who hilariously transform her into the grandest of dames! ... Read more

Reviews (10)

An Underappreciated Capra Classic
I love this movie. All of Frank Capra's films are great, but this is the one I like the most(this and YOU CAN'T TAKE IT WITH YOU). It's a wonderful story of a "woman of the street" trying to put on a good show for her daughter when she comes to visit(and introduce her fiance). It's a touching and funny film and goes sadly unheralded(at least Criterion released in on laserdisc). I often think of it in the same class with the Barbara Stanwyck classic, STELLA DALLAS. A must for any classic film fan, an absolute must.

The 1933 Columbia Pictures logo
LADY FOR A DAY is worth seeing if only to see that 1933 Columbia Pictures logo which introduces the film. This movie deserves a cluster of stars, the Frank Capra 50 star rendition of Damon Runyon's wonderfully Broadway story of Apple Annie. The characters are in the tradition of the Lemon Drop Kid--Moose Moran, and Oxford Charlie; in this movie it's Dave the Dude. Dude, played by Warren William, is portrayed as Runyon would have expected him to be portrayed. And what a supporting cast to "Apple Annie," May Robson; cast including Walter Connolly as the Spanish Count, and Ned Sparks, with his monotone delivery, is Dude's mobster sidekick. Of course the brassy, nightclub bombshell, moll-to-be Glenda Farrell rounded out the bunch of Broadway mugs. It just wouldn't have been a 1930s Manhattan movie without the New York celebrities including Irish cops, the Mayor and Governor. Their evening police escort with motorcycle sirens and headlamps blazing was in the Grand B movie tradition for a Grand A movie. It was a fairy tale as weren't all of Damon Runyon's tales? Well written, well cast, well done. Take it from Dude's muscle-man, Shakespeare, "Ee-say, is-thay, ovie-may-- Or else! Yer may find yerself takin' a ride up tah 42nd Street.

The rating is for the DVD
I should have listened to the other person who mentioned scratches on the movie. However, while he found them only slightly distracting...I found them to be so disruptive that I lost track of the movie. This print was transferred from a copy that had severe sprocket tooth scratches. These scratches lasted for almost 20 minutes.

While my rating of the movie itself would be 3-4 stars, I cannot recommend...even to fans of the movie...to buy this copy. I wouldn't even be happy if I had bought it for under 10 bucks....but at this steep price, I advise against it.

A Good Capra DVD
Lady for a Day is a fine Capra film. The story concerns a street vendor Apple Annie (May Robson) who has deceived her daughter that she is a High Society lady. The daughter, who has been living in Spain, decides to visit and what's more brings along her prospective fiancé plus his father, a Spanish count. So as not to scupper her daughter's marriage, Annie must enlist the help of her underworld friends to continue the deception. The film is at times very funny with a tone which looks ahead to the Screwball comedies of the later thirties. It is also often rather moving, with May Robson's terrific performance eliciting a great deal of sympathy. The rest of the cast is equally fine. Warren William as Dave the Dude is that most unusual of characters a gangster with a heart of gold. Guy Kibbee, familiar from so many thirties films, is always fun to watch. This time he plays a pool shark who agrees to pretend he is Apple Annie husband. Jean Parker, as Apple Annie's daughter Louise, will be familiar to anyone who has seen the 1933 version of Little Women in which she plays Beth. Her role in Lady for a Day could hardly match that role, but she still performs well with her memorably unusual voice. She also looks absolutely stunning. It's even possible to glimpse a young Ward Bond, as a policeman on a horse, obtaining an apple from Annie.

The print used for the Image DVD is not perfect. The main problem is that towards the end of the film, the right hand edge of the picture has been damaged so that white marks appear on the print. This only affects a small portion of the picture, but it is a little bit distracting. For the most part however, the print is clear and sharp. Even when there is some damage, the rest of the picture is fine. I have seen any number of thirties and forties films which have survived in worse condition than Lady for a Day. Moreover the sound quality on this DVD is above average for a film from this period. The wonderful dialogue is easily audible and the soundtrack has very little background noise. As an extra the DVD includes a commentary by Frank Capra Junior. This is a DVD which Capra fans should enjoy.

stay away
This wonderful film is a total disaster in its DVD format. Frank Capra Junior calls it a restored print which is a joke. The film is often dark, details are hard to see and there are sprocket holes, white spots and all kinds of detractions in the film. How could Image and Capra release this mess on DVD! This outstanding film deserves much better than is offered. ... 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

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 (8)

Frank Capra's Oscar nominated "Why We Fight" chapter
"The Battle of Russia: The Nazi March Frozen" is the fifth in director Frank Capra's celebrated "Why We Fight" series that is the supreme example of American propaganda during World War II. Capra was 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 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. Eventually the "Why We Fight" series was shown to the public in theaters and prints were distributed to American allies in England and the Soviet Union as well.

"The Battle of Russia: The Nazi March Frozen," on which Anatole Litvak also worked as an uncredited director, followed "The Battle of Britain," both of which were released in 1943. The 57-minute black & white documentary narrated by both actor Walter Huston and writer Anthony Veiller. "The Battle of Russia" begins with Hitler deciding to betraying his alliance with Stalin and attacking the Soviet Union. However, at the end of this documentary the Soviets stop the Nazis at the battle of Stalingrad and Hitler's army suffers a crippling defeat at the gates of Moscow. "The Battle of Russia," which was nominated for an Academy Award for Best Feature-Length Film Documentary, is a prime example of the way the Soviet Union was presented as a strong ally during World War II (check out "Mission to Moscow" in this regard as well).

Even today the "Why We Fight" series remains a prime source of archival footage of this period, with film of Joseph Stalin, Adolf Hitler, Benito Mussolini, Haile Selassie, Vyacheslav Molotov, Hermann Göring, and a score of German and Soviet military figures. "The Battle of Russia" is followed by "The Battle of China," which finally introduces the Pacific theater of World War II. In 2000 the "Why We Fight" series was added to the Library of Congress National Film Registry.

Frank Capra's Oscar nominated World War II documentary
"The Battle of Russia: The Nazi March Frozen" is the fifth in director Frank Capra's celebrated "Why We Fight" series that is the supreme example of American propaganda during World War II. Capra was 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 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. Eventually the "Why We Fight" series was shown to the public in theaters and prints were distributed to American allies in England and the Soviet Union as well.

"The Battle of Russia: The Nazi March Frozen," on which Anatole Litvak also worked as an uncredited director, followed "The Battle of Britain," both of which were released in 1943. The 57-minute black & white documentary narrated by both actor Walter Huston and writer Anthony Veiller. "The Battle of Russia" begins with Hitler deciding to betraying his alliance with Stalin and attacking the Soviet Union. However, at the end of this documentary the Soviets stop the Nazis at the battle of Stalingrad and Hitler's army suffers a crippling defeat at the gates of Moscow. "The Battle of Russia," which was nominated for an Academy Award for Best Feature-Length Film Documentary, is a prime example of the way the Soviet Union was presented as a strong ally during World War II (check out "Mission to Moscow" in this regard as well).

Even today the "Why We Fight" series remains a prime source of archival footage of this period, with film of Joseph Stalin, Adolf Hitler, Benito Mussolini, Haile Selassie, Vyacheslav Molotov, Hermann Göring, and a score of German and Soviet military figures. "The Battle of Russia" is followed by "The Battle of China," which finally introduces the Pacific theater of World War II. In 2000 the "Why We Fight" series was added to the Library of Congress National Film Registry.

Frank Capra's Oscar nominated World War II documentary
"The Battle of Russia" is the fifth in director Frank Capra's celebrated "Why We Fight" series that is the supreme example of American propaganda during World War II. Capra was 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 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. Eventually the "Why We Fight" series was shown to the public in theaters and prints were distributed to American allies in England and the Soviet Union as well.

"The Battle of Russia: The Nazi March Frozen," on which Anatole Litvak also worked as an uncredited director, followed "The Battle of Britain," both of which were released in 1943. The 57-minute black & white documentary narrated by both actor Walter Huston and writer Anthony Veiller. "The Battle of Russia" begins with Hitler deciding to betraying his alliance with Stalin and attacking the Soviet Union. However, at the end of this documentary the Soviets stop the Nazis at the battle of Stalingrad and Hitler's army suffers a crippling defeat at the gates of Moscow. "The Battle of Russia," which was nominated for an Academy Award for Best Feature-Length Film Documentary, is a prime example of the way the Soviet Union was presented as a strong ally during World War II (check out "Mission to Moscow" in this regard as well).

Even today the "Why We Fight" series remains a prime source of archival footage of this period, with film of Joseph Stalin, Adolf Hitler, Benito Mussolini, Haile Selassie, Vyacheslav Molotov, Hermann Göring, and a score of German and Soviet military figures. "The Battle of Russia" is followed by "The Battle of China," which finally introduces the Pacific theater of World War II. In 2000 the "Why We Fight" series was added to the Library of Congress National Film Registry.

Dreadfully Bad
Ok, the topic is great... the Soviet repulsion of the Nazi military might. But the war-time propaganda, the lack of depth of the "documentary", the missing facts, and the poor quality of the film make this a horrific failure when one considers the title.

I don't care if this is a known propaganda film used for recruiting in the United States during WWII... it simply has no social context sixty years later. Shouldn't we be concerned with the facts of the Nazi siege and the Soviet repulsion as they relate to a deeper understanding about the two nations of the 20th century that produced the worst dictators (Hitler and Stalin)?

Consider the following facts:

1) There was a major event in the 20th century, commonly referred to as "World War II", when most of the nations of the world were at war.

2) During that event Nazi Germany terrorized all of Europe (and especially the Soviet Union), through their military might and demonic plans (the Holocaust).

3) The Nazi's invaded the Soviet Union in 1941.

4) The Soviet Union repulsed the Nazi invasion.

I would guess that the mentally ill and the recently born make up the vast majority of the population that isn't aware of the above-mentioned facts. This movie is for them.

Propaganda? Yes. But also something else.
Yes, this is propaganda. But this is also a rare film. You will see a million WWII movies that gloss over the russian side of the story. They fought bravely with their backs against the wall and prevailed against some serious odds. The director had to work with the russian propaganda footage, and so it is a glimpse into their world at the time. It is a rare film because it does not brand the whole nation "evil". And, actually, it gives you a piece of history you don't know. ... 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