THREE STRIPES IN THE SUN
US, 1955, 93 minutes, Black and white.
Aldo Ray, Philip Carey, Dick York, Mitsuko Kimura, Chuck Connors.
Directed by Richard Murphy.
Three Stripes in the Sun is based on a true story and articles in the New Yorker magazine. It focuses on a sergeant in post-war Japan, Aldo Ray. He is gruff – and has a hatred of the Japanese. However, in his work, he is in charge of supplies for a Japanese orphanage, comes to sympathise with the children, is attracted by one of the social workers and his attitudes change.
The film was a contribution to peace after World War Two, American attitudes towards the Japanese, a sense of humanity as well as forgiveness. The film was written and directed by Richard Murphy, a writer for many Hollywood films who directed this film and The Wackiest Ship in the Army. The film offers a strong role for Aldo Ray.
1. The meaning of the title, the American reference, the focus on O'Reilly as Sergeant, the sun a symbol of Japan? The indication of American-Japanese? relationships?
2. The impact of the film in the mid-fifties, the experience of the war, the experience of the occupation, the rehabilitation of Japanese-American? relationships? The impact of the Korean war? The impact of the film in the fifties, now? Themes of war, peace? The highlighting of human and racial themes?
3. The film's emphasis in portraying the Americans and Japanese as very similar, the unity of human nature, the similarity of attitudes, war, suffering? Propaganda on both sides? People as being victims of propaganda?
4. American attitudes to the occupation of Japan as presented in the film, a difficult occupation, American arrogance, American consideration, American occupying soldiers as ambassadors? The humiliation for the Japanese, their anger as in the initial riot?
5. The importance of the film being a true story, indications at the start, the end? Audiences identifying more with a true story in this case than with fiction?
6. The introduction of O'Reilly, the chip on the shoulder, the gruffness of his arrival, the accident of being transferred from Germany to Japan? His experience of the war and suffering? How understandable was his hostility? Why was he so against the Japanese in fact? The screenplay's contriving of the impact of the Japanese on him, bringing out the better side of him, moving them towards love and devotion? Were these aspects of the plot contrived? How credible were they?
7. The character of O'Reilly, his American background, orphan? Gruffness of manner? His bond with his friend? His initial hostile reaction to American soldiers liaising with the Japanese, hostility at the dance, the riot and 'Yanks, go home'? His reaction to the escort taking him to headquarters? His reaction to being bawled out by his superior? His skill in his work? The irony of his attack on the priest?
8. The transition in mood and attitude to the Japanese via the experience with the priest, with Yuko as interpreter, the Commander's shrewd getting of Yuko to take O'Reilly to the orphanage? His encounter with the nuns and seeing that work that they did, an international Order? His compassion for the orphans and his own memories? The drawing out of sentiment? How real was his response? A transition of attitude via encounter with people rather than by ideas? The film beginning to hammer home a message, appropriately, acceptably?
9. The sequences with the orphans, the comedy of the soldiers getting them so much food, the helping with money, the plans to build the orphanage? The irony of the inspection and their being caught, the humour of the cook hiding in the fridge etc.? A symbol of the possibilities of peace?
10. How attractive a person was Yuko? Her work for the Americans? The importance of her stories about suffering during the war, especially the story about the brutal soldier chasing at Christmas and giving the sweets, the fear of being poisoned, the hunger and eating and discovering that they did not kill? The way that this story was used as a parable for the whole film? Her attractive helping of O'Reilly with the orphans, with letters? His going out with her to get help for the orphanage, their talks together? How did the interaction of the two highlight the vastly differing mentalities of Japanese and Americans? Taking O'Reilly home? Matters of dress, O'Reilly's refusing to drink the tea with the businessman who wanted to give him the material free? How well could he adapt? How well could she adapt? The conflict at home?
11. The portrayal of the American soldiers - conventional, congenial? O'Reilly's friend and his background, wanting to prove himself to his father, living in the present, admiration for O'Reilly, enjoying life? Idaho, the Commander and his wisdom, his story about his wife's death at Pearl Harbour, his being at the Shinto shrine, his understanding O'Reilly, his confronting him at the end?
12. O'Reilly's growing in love, hostile that Yuko should have a Japanese suitor? Her being hurt? The interruption of the Korean War and the brief visualizing of this? O'Reilly and his return?
13. The counterbalance of Yuko's home crisis, her mother's hostility and suspicions, her father's words of advice for her not to become American in dress, manner, attitude, behaviour? The crisis for Yuko and her keeping away from O'Reilly?
14. The build-up to the opening of the orphanage, O'Reilly's hospitalisation and his eventual presence, the presentation and honouring of him?
15. O'Reilly's interview with the Commander, his changing so much in wanting to be discharged? Was the Commander right in questioning his motivation? In calling him a coward?
16. The confrontation between Yuko and O'Reilly, the facing of all possibilities and realities about human nature, love, race, differing cultures, interracial marriage, children, the future? Yuko's possibility of living in America? Their possibilities of work and life there? How then was this a parable for America in the fifties, America now? The bonds and unity of human nature? Interracial themes ? optimism?
