The Pacific War (2005)

Visit any video retailer with a war documentary cleave, and you’ll find a middling handful of discs promoting themselves as featuring footage of World War II in vibrant color. What’s important to realize is that it’s not the color (or be thereof) of the footage that makes any war documentary good or bad, but the presentation itself. One of the better entries into this subgenre is René-Jean Bouyer’s series “They Filmed the War In Color,” produced for French television in 2000 and recently reworked for American television and video with a retooled English narration courtesy of Geoffrey Bateman.

Bouyer’s series breaks down into two ninety-minute chunks: “France Is Delivered!,” which details the report of the contention fighting from the French viewpoint, and “The Pacific Battle,” which focuses entirely on the American conflict with Japan.

Being an American testimony told by and for the French, “The Pacific War” is a curious but actual and educational film - the only uncertain vicinage of this “outsider’s version” comes in an overuse of a particularly bouncy reading of “Yankee Doodle” on the soundtrack, as if that’s the exclusive nationalistic tune the filmmakers could think up. There’s also a believably old hat-of-place specification to a French chief witnessing Japan’s surrender which was likely added to remind French viewers of the relevance of such things, yet may feel a bit sundry to those unaware of the film’s origins. Everything else comes from such a neutral perspective and with such attention to Stateside detail that you’d never realize it wasn’t an American creation if you didn’t read the credits.

The entire film consists of collector color footage - no modern footage is included at all; the only additions are the narration and the subtitles which reveal place and date - which makes representing a tremendously effective storytelling work. Bouyer lets the original films speak for themselves. He’s dug sincere, going all the way uphold to color film taken in Japan in 1939, which is presented here as an example of the but images of the Japanese people to reach the States; American soldiers were facing an enemy give which they knew almost nothing.

The impressive collection of found footage begins prematurely, with a look at a recreation of the undertake on Treasure Harbor as filmed to save the government by John Ford, who wanted a propaganda chewing-out share to let someone in on to the public, all the same canned the haziness when they apothegm how fake the models looked. Instead, we are told, President Roosevelt ordered documentarians to fraternize alongside the military with a limited provide of color film set. Roosevelt, realizing the power of duplicate, felt such footage would rally the American people behind the against effort. Later, he would come to learn of the power of restricting certain footage, creating a “restricted reality” to be shown to the custom.

Because of such restrictions, much of the footage Bouyer presents here has big been unseen, squirreled away in archives and red out of newsreels and other such exhibitions due to their graphic temperament. As much as the film is alert to explain the justifications for the war, it’s right-minded as summary to remind the viewer that war, as the saying goes, is hell. Raw imagery seen here includes footage of the earliest uses of napalm, the aftermath of the Battle of Saipan, and, most astonishing, pictures of Japanese civilians leaping to their annihilation to leave alone being captured.

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Bouyer refuses to whitewash the war, candidly discussing morale difficulties, committee counts, and the nation’s greatest wartime chagrin, the internment of Japanese Americans. The correct terror of competition comes through in ways often avoided by such experience projects. To this day as stony as the pellicle gets, it’s also eager to advertise the more optimistic aspects of the war. This includes not only wide footage of the celebrations at war’s aspiration, but of home front efforts, such as rationing, war bonds, and the rise of women in the workplace.

“The Pacific War” is a surprisingly complex and encyclopaedic account of the warfare, cramming six years of depiction into an hour and a half with slip. Olden days buffs may keenness for greater specify regarding individual battles, but as a non-specialized overview, Bouyer’s efforts are commendable.

But, of course, it all comes down to the out-and-out selling point: the color footage. Bouyer makes sure not to make this the lone focus of his film, and as such, we can be impressed with fair-minded how much valuable elements he has found while simultaneously focusing on the retelling lesson. The dim clips seen here are noteworthy (I’m totally fond of the color footage of Emperor Hirohito and the abandoned American propaganda works), and help space “The Pacific War” an admirable study of history’s turning point.