Why We Fight World War II - The Complete Series
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Movie Reviews of Why We Fight World War II - The Complete Series
Movie Review: Global War for the Ordinary Joe
Summary: 4 Stars
As a propaganda film, this series explains the dire urgency of what was happening for the ordinary joe. The film's usage of maps helps to illustrate how the Axis threat had rapidly spread across both Europe and Asia.
The War is explained at both a strategic level and from a point of human suffering. Unlike what I would expect in a propaganda movie with flag waving and parades, the film shows how formidable and dominating the Axis forces were: they were winning and the Allies were loosing. As a propaganda film, it works along the lines of showing a raging fire, and showing how the fire had breeched multiple barriers.
The film is not join the easy fight, but to prepare the nation for a very tough, vicious war.
Movie Review: Why we fight World War II
Summary: 4 Stars
I thought the movie was an excellent way to get a base for World War II. Movie Review: World War II Proproganda
Summary: 4 Stars
Oh My! If you want to see the USA in the best light probable than watch these documentaries. They are careful to omit the facts and in some cases are blatenly lying. Perfect to see the allies use of propoganda during World War II.Movie Review: Why We Fight...Even Today
Summary: 5 Stars
I remember watching this series when I was a teenager, and I didn't realize the value of this series until I was enlisted in the Army. Just as the Germans made films to boost and maintain national morale, the United States got one of the most brilliant directors of the time, Frank Capra, to unite the people of the Free World against the forces of aggression.
I think this is a wonderful series to own and collect for the years to come.
Movie Review: A riveting series -- alas, unrestored
Summary: 5 Stars
Frank Capra's "Why We Fight" is one of the finest documentaries of the war period, not to mention one of the most historically significant. Watching these films today, sixty-five years after this series was produced, you find yourself wanting to pick up a machine gun and start hunting Germans and Japanese. The effect on wartime crowds must have been electric.
I suppose we have to deal with the usual criticism -- they aren't documentaries, they're propaganda. And well, so they were. The same can be said of any of the wartime documentaries put out by the Office of War Information, the Army, the Navy and the Marines. It doesn't obscure the fact that some of these films were works of art. Documentaries in that period had a sense of style we don't see much today; they often aimed to persuade and manipulate the emotions -- see Pare Lorenz' "The Plow that Broke the Plains," a depression-era documentary in the same vein, and you'll see what I mean. During the war the government financed dozens of films like these, and many of them are fascinating as pieces of entertainment, not just as compilations of combat footage. Capra's series aside, we might also include "The Battle of San Pietro," "Let There Be Light," "Report from the Aleutians," "The Memphis Belle," and a handful of others.
The main problem I have with this collection -- put out by Goodtimes Video -- is that there seems to have been absolutely nothing done in the way of restoration. The first film of the series, "Prelude to War," suffers considerably -- the film is "jumpy" for the first 20 minutes or so. I wouldn't put the producers to task too much for this: Every copy I've seen of this film, on videotape, has exactly the same problem. But you'd think that a series of this significance warrants some sort of restoration.
Later films in this package vary somewhat in transfer quality. "Divide and Conquer" and "The Nazis Strike" are perfectly adequate, though they use scratchy and well-worn prints. But "The Battle of Britain" is over-brightened, and some of the lighter portions of the picture are completely whited out.
I don't want to be too picky here. Goodtimes did something right: It didn't try to package all these films on one or two disks, and so we don't see any of the compression artifacts we often find in budget-priced public domain material. And I have to say the quality is still well above the awful videotapes that used to be the only source for this material. (Goodtimes used to be one of the worst, using EP mode for its tapes, and this DVD set is a significant improvement on the old standard.) Still, I wish someday that someone would take the next step and give these films the restoration treatment they deserve. Criterion Collection, are you listening?
Erik Smith