In Pictures at a Revolution, Mark Harris turned the story of the five movies nominated for Best Picture in 1967 into a landmark work of cultural history about the transformation of an art form and the larger social shift it signified. Read more...
In Pictures at a Revolution, Mark Harris turned the story of the five movies nominated for Best Picture in 1967 into a landmark work of cultural history about the transformation of an art form and the larger social shift it signified. In Five Came Back, he gives us something even more remarkable: the untold story of how Hollywood changed World War II, and how World War II changed Hollywood, through the director's lens.
It is little remembered now, but in prewar America, Hollywood's relationship with Washington was decidedly tense. Investigations into corruption and racketeering were multiplying, and hanging in the air was the insinuation that the business was too foreign, too Jewish, too "un-American" in its values and causes. Could an industry with such a powerful influence on America's collective mindset really be left in the hands of this crew?
When war came, the propaganda effort to win the hearts and minds of American soldiers and civilians was absolutely vital. Nothing else had the power of film to educate and inspire. But the government was not remotely equipped to harness it--so FDR and the military had little choice but to turn to Hollywood for help. In an unprecedented move, the whole business was farmed out to a handful of Hollywood's most acclaimed film directors, accompanied by a creative freedom over film-making in combat zones that no one had ever had before or would ever have again.
The effort was dominated by five directing legends: John Ford, William Wyler, John Huston, Frank Capra, and George Stevens. They were complicated, competitive men, gifted and flawed in equal measure, and they didn't always get along, with each other or with their military supervisors. But between them they were on the scene of almost every major moment of America's war and in every branch of service--army, navy, and air force, Atlantic and Pacific; from Midway to North Africa; from Normandy to the fall of Paris and the liberation of the Nazi death camps. In the end, though none of them emerged unscarred, they produced a body of work that was essential to how Americans perceived the war, and still do.
The product of five years of original archival research, Five Came Back is an epic achievement, providing a revelatory new understanding of Hollywood's role in the war through the life and work of five men who chose to go, and who came back.
- ISBN-13: 9781594204302
- ISBN-10: 1594204306
- Publisher: Penguin Pr
- Publish Date: February 2014
- Page Count: 511
- Dimensions: 1.75 x 6.75 x 9.75 inches
- Shipping Weight: 1.92 pounds
Publishers Weekly® Reviews
- Reviewed in: Publishers Weekly, page .
- Review Date: 2014-01-13
- Reviewer: Staff
American filmmakers undergo their baptism of fire in this insightful if sometimes chaotic war saga. Journalist Harris (Pictures at a Revolution) profiles five leading directors—John Ford, Frank Capra, William Wyler, John Huston, and George Stevens—who ditched stellar careers to join the military and craft propaganda, battle documentaries and training films. (Ford’s first Navy assignment was an explicit primer on venereal disease.) Harris’s story is often simply Hollywood on steroids: generals and political strictures replace studio moguls and the Hays code; location hardships include getting shot at; the blurring together of authenticity and fakery deepens (some of the most acclaimed and innovative combat “documentaries” were staged reenactments). The fog of war sometimes obscures the big picture here; even more than civilian making-of epics, the author’s narrative of military movie production is a welter of confusion and misfires, turf struggles, budget constraints, and grand artistic impulses thwarted by philistine bureaucracies and petty happenstance. Still, Harris pens superb exegeses of the ideological currents coursing through this most political of cinematic eras, and in the arcs of his vividly drawn protagonists—especially Stevens, whose camera took in the liberation of Paris and the horror of Dachau—we see Hollywood abandoning sentimental make-believe to confront the starkest realities. (Mar. 3)