THIRTY SECONDS OVER TOKYO

US, 1944, 138 minutes, Black and white.
Spencer Tracy, Van Johnson, Robert Walker, Phyllis Thaxter, Tim Murdock, Don Defore, Robert Mitchum.
Directed by Mervyn Le Roy.

Thirty Seconds Over Tokyo was a big-budget M.G.M. production of 1944, highlighting the planning of the first bombing raids on Japan in World War Two. It was a piece of propaganda material, effective as such. It was also a semi-documentary with the presentation of the military, the Air Force, the Navy, training, the bombing raids.

The black and white photography received an Oscar nomination. The film has a sense of realism - though the human element is treated with Hollywood feeling and sentiment. Spencer Tracy makes a guest appearance as Lieutenant Colonel Doolittle. The star of the film is Van Johnson - and he emerged as a popular star at this time. He received support, somewhat anonymously, from Robert Walker, Don Defore, Stephen McNally? and a young Robert Mitchum. Phyllis Thaxter is the wife back home.

The film is conventional in its framework but still has the courage of its '40s convictions. It was directed by Mervyn Le Roy who had started with small-budget crisp films at Warner Bros. and moved to lavish productions at M.G.M. (Blossoms in the Dust, Random Harvest).

1. A satisfying war propaganda film? Impact in its time? Later decades?

2. M.G.M. production values: black and white photography, the documentary style of the flight sequences, the bombing sequences in Tokyo? The studio sets for China? The star cast? The rousing and atmospheric score?

3. The title and its focus on the war on Japan, the bombing raids, the bombing of Tokyo -,and, in hindsight, the anticipation of Hiroshima and Nagasaki?

4. The impact of this kind of propaganda material in the 1940s? American morale-boosting, self-confidence, the justness of the cause? The American training? -The backing of American way of life and values? Biddies and going on missions? Suffering, mutual support? The heroism and the honour given to the heroes? The attitudes towards Japan - hostility, but in the later part of the film, a focus on common humanity?

5. Spencer Tracy's guest spot as Lieutenant Colonel Doolittle - authenticity and authority for the war, not mincing matters, his information, training sessions, relationship with the men? Leading them? His contact with Ellen, the visit to Ted? The backing of the American-military?

6. The focus on Ted Lawson as the central character? His work with the group, his knowledge and skills, skills as a pilot? Friendship with Bob Gray, shared memories? With the group? Ellen's arrival, the discovery of her pregnancy, his exuberance, going on, relationship with his men? His skill in the flight over Tokyo? The decision about crash landing, in the sea, injuries, the Chinese, his suffering, the vivid amputation of his leg (and his memories of Ellen, the crash and the felling of the tree,symbolising his leg)? The honour from the Chinese? The return home, not wanting to see Ellen, Doolittle's visit, Ellen's arrival and the reconciliation? A satisfying portrait of the typical World War Two American hero?

7. The presentation of the men - as individuals, their commitment, their skills, friendship, mutual support, training? The tight security? The details of the training, going onto the ships, to Japan? The mission, each doing his own job, the skill of the navigator, the bombardier, the gunner? Mutual support in trouble, injuries? The presentation of the American forces during World War Two?

8. Ellen as symbolising the women of America, the devotion to her husband, pregnant, in love, support? Not knowing where her husband was? The joy of his homecoming? The suffering? Morale-boosting?

9. The details of training, the fitness of the men, their skills and accuracy? The mission itself, the creative use of rear projection photography for the flight over Tokyo, the accuracy of the bombings, the crash into the sea?

10. The Chinese and their support, the missionaries, the help with surgery and medication? The role of allies in World War Two?

11. The film in hindsight - as story, propaganda, morale-booster, entertainment?