ANATOMY OF A SCENE: Das Boot – Running the Strait

            “Das Boot” is the gold standard for submarine warfare movies. I have considered it to be a great movie, but not outstanding because of one scene. I have read several books on submarine warfare and the Battle of the Atlantic, so I know u-boat tactics. The tactics shown in the scenes depicting the attempt to run the strait of Gibraltar seemed puzzling to me, especially since the captain is portrayed as a good leader who would not make any stupid mistakes. Recently, my opinion on this flaw in the movie has reared its head again and has caused me to question whether I have been too harsh on the captain for this. So, I have rewatched the pertinent scenes and read the book version of the scenes to see if the movie followed the book and if so, was the captain wrong.

            In the movie, the sub is given orders to enter the Mediterranean Sea by way of the Strait of Gibraltar. The captain is well aware that this is a very risky mission because the strait is very well defended. It will take a good plan and a lot of luck. He decides to approach the strait in the dark on the surface. The boat will evade British ships to get close to the strait and then dive and use the eastward current to save fuel and safely run through the strait. No one on the crew questions the decision, but it is obvious some of the officers are skeptical. The boat manages to maneuver through several British ships and are within ten minutes of diving when the captain sends all the conning tower personnel below deck except himself and the navigator. A plane attacks and drops two bombs that damage the sub and wound the navigator. The captain orders “prepare to abandon ship”, but he stays topside and orders full speed ahead. The second officer guesses the captain is trying to reach shallower water off the coast of Africa. When the sub runs into several British ships, the captain is forced to dive. He plans to hold at 100 meters, but the damage causes the boat to continue its dive until it bottoms out at more than 280 meters, well below crush depth.

            Were the captain’s decisions good ones and do they conform to the captain in the book? In the book, the captain’s plan is the same as in the movie. No one questions them, but there is some doubt. Heading for the strait on the surface in the daytime, they are forced to dive three times because aircraft are spotted. None of the planes attacks. They are back on the surface when night falls. They are ten minutes from diving when the plane attacks. (In the book, the officers wonder how the plane was able to find them in the dark which is appropriate because in October, 1941 the RAF’s radar on planes would not have been known to the u-boat fleet.)  The conning tower is hit and the deck gun is destroyed. No one is wounded. The boat dives, but resurfaces due to the damage. However, star shells turns the night into day, so the captain orders a dive to 100 feet (I am not sure why the movie went with meters.) The boat continues to the bottom which is more than 825 feet deep.  

            The movie is close enough to the real incident, considering it’s a dramatization. Obviously, the director and screenwriter were not going to reenact three dives because of aircraft. And the dive to the bottom is close to what happened. They did have rivets busting, by the way. It’s not just a submarine movie cliché. However, the captain in the movie makes a very puzzling decision to stay on the surface after the plane attack that damages the sub. He does not explain his decision, but it seems like he would not have known the damage would cause the sub to sink. His order to race towards the African shallows is not explained, but we can give him the benefit of the doubt and assume he knew the boat might sink and he wanted it to be in shallower water. (That’s a big assumption.) This actually worked out because although the sub does go way below crush depth, if it had sunk where it had been damaged, it surely would have been crushed by the lower depth. Probably because of time constraints the movie does not show the boat diving after the attack (which would have been standard procedure), but having to surface because of damage. The captain is then forced to dive because the alternative is being a sitting duck. Because the movie edits out some of this, it makes the captain look like a gambler who loses his bet. In the movie, it is insane to stay on the surface after the plane attacks and clearly informs the warships about the sub. He does not know that diving will result in sinking. In fact, since the ship draws fire on the surface, it is likely the damage that causes the uncontrolled dive was due to a shell hitting on or near the boat.

            This analysis has led me to adjust my view on the movie’s depiction of the Strait of Gibraltar sequence. I still feels the movie captain makes a poor decision to stay on the surface after being attacked, but I am willing to give him the benefit of the doubt because we don’t know what he is thinking and the movie might have made decisions for dramatic effect. With that said, I still believe both the movie captain and the book captain were insane to go as far as they did on the surface, even at night. In the war, the u-boats that successfully ran the very well-defended strait did it submerged using the eastward current to narrow the speed loss from not being on the surface. 

            P.S. Let’s take the scenes a little further. The movie covers the repairs to the sub and its surfacing very close to the book. And I just want to add something that might not have been apparent to viewers. The sub would not have survived if the Chief had gotten his wish to go home and/or if the captain had shot Johann when he had his panic attack.

CONSENSUS #96 Run Silent, Run Deep

SUMMARY: A WWII submarine captain (Clark Gable) is obsessed with sinking a Japanese destroyer nicknamed Bungo Pete. He is given command of the U.S.S. Nerka over the current exec (Burt Lancaster) creating a command and personality conflict. The captain is also a martinet. The captain insists on going deep into enemy waters to sink his white whale.

BACK-STORY: This movie is based on the best seller by Edward L. Beach, Jr. (a WWII sub commander). It was produced by Burt Lancaster and cast him (a rising star) with Clark Cable (whose start was fading). The two reportedly did not get along well during the shoot with Gable upping the cost of production with his 9 to 5 work rate. This dysfunction may have added to the realism of the movie which is based on a personality conflict between the two leads. The technical advisor was a retired Rear Admiral. The movie had the full cooperation of the U.S. Navy including use of a sub for exterior shots, equipment for interior shots on the set, and submariners to train the actors.

TRIVIA:  imdb, Wikipedia, TCM

1.  Clark Gable and Burt Lancaster did not get along during the shoot.  Lancaster made jokes about Gable’s age.  Gable refused to work past 5 and would leave in the middle of a scene.  Since Lancaster was a co-producer and the film ran overtime and overbudget, this became frustrating.  Gable did not want to play a captain that lost his command, he felt it did not fit his image.  He sat out two days over this issue and only returned when the script was changed so the captain lost command because of a head injury.  (Another example of an actor insisting on something that made the plot worse.)

2.  The actual Akikaze did not play the role of a hunter as depicted in the movie.  It was sunk when it purposely intercepted a torpedo aimed at the carrier Junyo it was escorting.

3.  The actors in the sub crew went through training on how to run a sub.  The movie has been commended for its accurate depiction of the attack procedure.

4.  The older/younger commander dynamic was used again by director Wise for the first “Star Trek” movie.  He used the stationary subs hunting each other in his “Wrath of Khan”.

5.  This was Don Rickles’ first film.  He was on a motor torpedo boat tender in WWII.  He was in charge of morale.  Just kidding.

6.  The movie starts off badly with Richardson’s previous boat being sunk in Bungo Straits early in the war.  First, a U.S. sub would not have been that deep into Japanese waters at that time and if it was, there is no way the crew could have been rescued.

7.  The author Edward Beach did not like the movie.  He once commented that all the studio did was buy the title.

8.  The movie was basically a combination of “Moby Dick” (with the Akikaze being the white whale) and “Mutiny on the Bounty” (with its command dysfunction).

9.  The movie was overshadowed at the box office by “Operation Petticoat”.

Belle and Blade  =  4

Brassey’s              =  2

Video Hound       =  4.4

War Movies         =  3.1

Military History  =  #79

Channel 4             =  not on list

Film Site                =  yes

101 War Movies  =  no

OPINION: “Run Silent, Run Deep” was one of my favorite books as a teenager. This movie does not do justice to the book. The movie became a showcase for two legendary actors, but that does not overcome some of the ridiculous aspects of the film. The acting by the whole cast is noteworthy. Rickles even adds some humor. (He gets to offer a guy “a cookie”.) The movie is certainly entertaining and better than average in the submarine subgenre.

#3 - Das Boot (Director’s Cut) (1997)

BACK-STORY:  “Das Boot” (“The Boat”) is a German submarine movie directed by Wolfgang Petersen.  Originally the movie was going to be made by John Sturges starring Robert Redford and then by Don Siegel starring Paul Newman.  Thankfully, both projects fell through.  It is based on the novel by Lothar-Gunther Buchheim.  Although fictional, Buchheim used his experience as a correspondent on U-96 on a tour in 1941.  The Werner (Herbert Gronemeyer) character is based on Buchheim.  Buchheim began as a technical adviser, but had a falling out with Petersen because of what Buchheim considered unrealistically enhanced dramatic license.  The movie took three years to produce (1979-81) and was the most expensive German film up to then.    It was released in 1981 at 150 minutes and then shown as a miniseries at 300 minutes.  The version I am reviewing is the definitive Director’s Cut which clocks in at 209 minutes.  The original version was a big hit in Germany and the U.S.  It was an even bigger critical success.  It was nominated for Academy Awards for Director, Cinematography, Adapted Screenplay (Petersen), Film Editing, Sound, and Sound Effects Editing.  Stunningly, it was not nominated for Foreign Film.



OPENING:  The movie opens at La Rochelle, France in the autumn of 1941.  We are informed that the u-boat fleet is beginning to suffer heavy losses.  By the end of the war only 10,000 of 40,000 submariners will have survived tne war.  The Captain (Jurgen Prochnow), the Chief (Klaus Wennemann), and Werner arrive at the base and Werner gets his first taste of the submarine service when some of the drunken crewmen piss on their car as it passes by.  (I don’t mean taste literally.)  The enlisted are not the only ones “preparing” for their next tour, the officers are partying at a French cabaret.  The scene is reminiscent of a cinematic fighter squadron on a regular night except that these guys are going to be away from debauchery for a couple of months.  They party like there’s no tomorrow partly because they know that is reality.

SUMMARY:  The next day the U-96 sets sail.  Werner is given a tour of the boat.  It is very crowded and narrow.  Spaces are filled with supplies, even one of the two latrines.  Sausages hang from the ceiling.  We are introduced to the key members of the crew.  There are 48 men on board a boat that would have had 24 in peacetime.  The First Watch Officer (Hubertus Bengsch) is the only Nazi fanatic.  The rest of the officers are cynical and war-weary.  The Captain, in particular, makes biting remarks about the “braggarts” that run the government and to needle the “Hitler Youth leader” (the FWO) insists on singing “Tipperrary”. 

                The next twenty days are ones filled with boredom. A sailor flicks a booger at another.  This boredom switches to terror instantly when the boat is surprised by a British destroyer.  The sub dives below its maximum depth of 160 meters and withstands a depth charging.  There is no warning of the explosions for the crew or the audience.  For some reason, the destroyer gives up and they move on to a convoy.  They manage to torpedo three freighters, but then its payback time for the escorts.  The depth charging is much worse this time.  Leaks, flying bolts, a fire, and numerous close explosions cause extreme tension.  The Captain remains stoical throughout, but the Chief Mechanic Johann (Erwin Leder) cracks up and the Captain threatens to shoot him.  After several hours of pounding, the British apparently run out of depth charges and they can breathe easier and fresher air.



                When the sub resurfaces, it encounters a burning tanker.  The Captain decides to use a torpedo as the coup de grace thinking there is nobody on board.  Oops!  They are constrained from picking up any survivors.  War is hell.  Johann comes to apologize to the Captain, thus establishing a redemption arc.  The boat stops in neutral Spain at the port of Vigo.  The Germans have a ship set up for resupplying u-boats.  The officers are wined and dined by ass-kissers who are clueless about the Battle of the Atlantic.  The contrast between the spic and span noncombatants and the grungy submariners is telling.  While on board the lap of luxury, the Captain receives suicidal orders to run the Strait of Gibraltar to sink ships in the Mediterranean. 

                The Captain makes the head-scratching decision to run the gauntlet at night on the surface.  They try to sneak past numerous patrol vessels and ironically it’s a plane that catches them.  They suffer bomb damage and are forced to dive.  It’s an unstoppable dive to the bottom of the sea.  The depth meter needle stops at 280 meters.  Well below the maximum depth determined by the manufacturer.  The list of problems is a mile long.  Any one of which will prevent the boat ever seeing the surface again.  The Chief proves to be an expert fixer and Johann gets to redeem himself.



"Take that, people who determine hull crush depth!"

CLOSING:   Surprise, the sub rises from the depths. 
Because God has a conscience, the trip back to La Rochelle is uneventful.  They come sailing into the base with smug looks that are quickly wiped off by a sudden and extremely ironic air attack that wreaks havoc and sinks the sub.  The sailor who had showed off the picture of his girlfriend is dead meat, but you did not have to take a walk on the cliché side to die.  This is one of the great final scenes in war movie history. 

WOULD CHICKS DIG IT?  If they like sweaty, sallow Germans.  The language and violence are not too graphic.  There is only one female character, the cabaret singer.  She’s more for the guys in the audience than their girlfriends.  Not exactly a role model.  The movie has a horror movie feel to parts of it, so there’s that aspect.

HISTORICAL ACCURACY:  Analyzing this movie for historical accuracy is problematic.  The film is based on a novel so it is hard to determine what in the novel is true.  The movie does follow the book closely which means the questions about accuracy focus on the book.  There was a U-96 and it was commanded by Heinrich Lehmann-Willenbrock for its first eight patrols.  He was the 6^th highest u-boat ace based on tonnage.  He won the Iron Cross.  The submarine was credited with sinking 27 ships in 11 patrols.  Buchheim (Werner in the movie) was a Navy correspondent who was embedded for propaganda purposes.  It appears that the patrol he based the book on was the 7^th one.  My research on that patrol shows that Buchheim enhanced the story quite a bit.  In fact, even if Buchheim used incidents from other patrols, it is still hard to find the incidents that appear in the book and in the movie.  The seventh patrol saw the sinking of only one freighter and one significant depth charging.  There was no Gibraltar incident on any of the patrols.  The u-boat sailed from St. Nazaire (the movie understandably used La Rochelle because the sub pens are intact there and were essential to the verisimilitude of the film).  It also returned to St. Nazaire, but not to the reception shown in the film.  U-96 was sunk under similar circumstances when the submarine pens at Wilhelmshaven were bombed in 1945. 



So, what could have happened?  It seems likely the submariners partied hard considering the u-boat service had the highest mortality rate of any service in WWII for any country.  Adm. Donitz did make a habit of seeing off the individual boats.  The depressed vibe may be a bit laid on, but autumn 1941 was the first nonhappy time for the u-boats.  In 1941, convoys became more effective and more escorts came into play.  Also, anti-submarine technology improved with the use of ASDIC (sonar).  The movie implies that the u-boat war was on a path downward from then on, but in reality there was to be a second “happy time” with the entry of the U.S.  The vibe in the movie is more appropriate for 1943 when the Battle of Atlantic was clearly lost.  It seems unlikely that the depth of depression and cynicism would have sunk that low by autumn 1941.

  The movie accurately reflects the fear the pinging of sonar caused for the crew.  By this stage of the war, Ultra was being used to reroute convoys away from wolf packs.  Of course the U-96 would not have been aware of this and the movie makes no allusion to the code-breaking.  The movie does make a point of depicting the use of the Enigma machine to decode messages from submarine command.  The u-boat crews were noted for being outspoken in their cynicism and the Captain evidences that.    As far as the Nazi on board, this stock character has been criticized, but it seems likely there would have been someone like him on board.  Actually, I would have thought there would have been more than one fanatic.    While the incidents in the movie can be questioned, the u-boat is as real as it can get.  The movie interior was an exact copy of a Type VII-C on display in the Chicago Museum of Science and Industry.



CRITIQUE:  The effort that went into this movie is amazing.  It reminds me of “Master and Commander”.  I already mentioned the interior, but there were also several models that were used for exterior scenes.  One was an eleven foot long model used for the ocean storms.  It was hollow and driven by a man laying inside on his stomach.  The same model was borrowed by Spielberg for “Raiders of the Lost Ark”.  There were dolls on the tower that were moved by remote control.  For the depth charge scenes, the interior mockup was on a hydraulic apparatus called a gimbal that allowed for realistic (even dangerous) hurling of bodies and objects.  The filming in this tight environment is incredible.  A special version of the steadicam was developed by cinematographer Jost Vacano who wore padding so he could move and not be hurt by encounters with the walls and hatchways.  One of the great war movie shots is when the crew rushes to the bow of the boat to speed the crash dive.   It is done in one continuous shot with no cuts.  The cinematography overall is great.  In the opening scene in the Bar Royal, Vacano has a long shot where the camera moves around the room to catch the revelry. 


                   The acting matches the technical virtuousity.  The cast was relatively unknown even if Germany.  Most went on to good careers.  Prochnow is perfect as the Captain and Wennemann matches him as the Chief.  Gronemeyer is appropriately awed, wide-eyed, and terrorized by his experiences as the neophyte Werner.  Erwin Leder makes a good impression as Johann.  It was his first acting role and you won’t be able to forget his face.    The entire cast was serious about making the picture special.  They all agreed to avoid sunlight during the production to get the sallow look.  The movie was shot in sequence so the men’s beards reflected time at sea.  The actors went through a type of boot camp so they could maneuver through the cramped interior smoothly.



                There have been many submarine movies.  It is a subgenre that has had great staying power and “Das Boot” (even though it is considered the last word on submarine movies) is not even the last example.  Hollywood still finds the cramped confines conducive to drama.  “Phantom” is just the latest proof that the subgenre will never die.  What makes “Das Boot” special is the way it gets the life of the submariners right.  The sailors behave as you would expect a German u-boat crew to behave.  Some veterans took umbrage with the crude language, but that seems revisionist and the book (by an ex-submariner) is even cruder.  No movie has depicted life on a WWII submarine better.  Any submarine.  At screenings in America, when the statistic of 30,000 German submariners dying appeared on the screen, the audience applauded.  By the end of the film, few rejoiced in the tragic exemplification of that stat.  You care about these men.  They are not the enemy.  Speaking of which, the movie does not cut to the anti-submariners.  U-96’s foes are faceless.


                The plot is linear and somewhat episodic.  It builds nicely to its overt anti-war message.  It is not perfect, however.  The depth chargings are a bit repetitive with each topping the last.  By the end of the movie, the boat has had everything but the kitchen sink thrown at it.  The movie cannot escape some of the clichés submarine movies are noted for.  It is the opposite in all ways from “U-571”, but it is not flawless.  Judging from my earlier analysis of submarine cliches, it features two very common ones.  The sub has to go below “hull crush depth” and yet the hull is not crushed.  The sub withstands not one, but three depth chargings with the depth charges exploding alongside the sub.  Unrealistically close, by the way.  It does avoid several other tropes.  There is no command conflict.  The captain is no Ahab hunting his white whale.  Noone is left on deck during a crash dive and no debris and oil are released to fool the hunters.  Most importantly, the sub is on a routine patrol.  No special mission.

                The biggest problem with the movie is it is implausible in parts.  Some of the set-ups are trite.  The boat encounters the burning freighter to set up the emotional scene where they back away from the drowning victims.  The Captain threatens to shoot Johann so later he can redeem himself.  Redemption is a common theme in war movies, but it’s the captain’s threat that makes no sense.  I think he would have empathized with a fellow submariner who had been on numerous patrols.  My biggest problem with actions taken in the movie is with the captain’s decision to try to run through the strait on the surface.  That was an act of insanity by a leader who the movie has portrayed very positively before then.  This reminds me of how Captain Miller in “Saving Private Ryan” is a role model, but actually a moron tactically-speaking.  For a u-boat ace, the Captain sure likes to stay on the surface when there are hunters nearby.

CONCLUSION:  “Das Boot” is a very good movie, but it is not great.  I have to admit that in my opinion it is slightly overrated.  In the worthy attempt to be firmly anti-war, it has a narrative arc that is consistently downward.  Each episode is more depressing than the last until the twist of the ending.  In my opinion, the plot would have been more effective as a roller coaster ride than a downward spiral.  This does conform to the novel, but movies have the right to improve on their sources.  “Das Boot” would have been better if it had included some of the thrills of u-boat combat.  There is too much prey and not enough predator.  The torpedoing of the three enemy ships is given short shrift. The three depth chargings are not.  Is it the third greatest war movie of all time?  It is certainly in the top twenty, but not in the top five.

RATINGS: 

Acting  -  A

Action  -  7/10

Accuracy  -  B

Plot  -  B

Realism  -  B

Cliches  -  B-

GRADE  =  A

THE BOOK

                The movie tracks the novel closely.  It opens with the cabaret scene, but there is more talk of losses and miraculous escapes.  This better sets the tone of the dangers of being on a u-boat.  The party is much wilder than it is reenacted by the film.  The depth charge scenes are basically the same as in the book only shorter and the book is told from the perspective of one crew member – Werner.  This gives you an excellent feel for what he went through as the stand-in for the readers.  The movie is able to show multi-perspectives and the various efforts to make repairs.  Because of the visual nature of movies, you get to see what it must have been like to be on board a u-boat and you can imagine what is going on in their heads.  The movie leaves out some scenes, but nothing major.  Other scenes are condensed.  For example, the storm that the sub endures is much more lengthy in the book (65 pages covering a two week storm!).  Score one for the movie on this one.  The movie completely skips the return home after the Gibraltar disaster.  This is another good edit considering the highlights of that part of the voyage are not believable.  Speaking of editing, the book’s dialogue has a lot more sailors discussing sex.  I would have to say that in this case my theory that a war movie should be superior to the book it is based upon applies to “Das Boot”.  Buchheim has a tendency to drag passages on.  The storm scene in particular is redundant and gets to be boring.  The tweeks Petersen adds are improvements.  In the book, the Captain does not finish off the burning freighter and there is no dilemma about picking up survivors.  He adds the navigator being wounded in the air attack off Gibraltar.  In the book, no one is wounded on the patrol.  Other than those small or understandable changes, the movie is one of the best adaptations of a novel that you can hope to see.  It is hard to understand what Buchheim was upset about. 

the trailer

                 

CLASSIC OR ANTIQUE? Operation Pacific (1951)

                “Operation Pacific” is a John Wayne WWII submarine movie released in 1951.  It was directed by George Waggner (“The Fighting Kentuckian”).  The technical adviser was Admiral Charles Lockwood, COMSUBPAC.  The movie is dedicated to the “Silent Service”.  An opening narration tells the viewers that after Pearl Harbor the subs had to carry the war effort in the Pacific.  52 subs and 3,500 submariners were lost during the war.

                The opening scene places us squarely in Old School territory.  Lt. Commander Duke (how original!) Gifford (Wayne) paddles a boat in front of a screen while someone off screen throws cups of water on him.  He rescues a group of nuns and orphans.  This was loosely based on the rescue of some refugees by the USS Crevalle after the fall of the Philippines. The kids proceed to run all over the sub, thus emphasizing the common theme of the sub as a family.   The problem is not the damned kids, it’s the damned torpedoes.  The Thunderfish fails to sink a fat juicy aircraft carrier because the torpedoes fail to explode.  We know this because we see a model of a sub in a swimming pool fire torpedoes that literally bump into the side of an aircraft carrier model.  1950s special effects – got to love them!  Speaking of Old School, one of the seamen actually says “I’m a monkey’s uncle”.

"Sorry sailor, these waters are closed"

                When the Thunderfish returns to Pearl, we enter the romance phase of the movie.  Groan!  It seems Gifford is divorced from a nurse called Mary Stuart (Patricia O’Neal).  Would you believe they divorced because he chose the service over her and their child?  (Sounds like Sgt. Stryker in "Sands of Iwo Jima".)  He chose his sub family over his real family.  However, now that he is back on shore, he wants Mary back.  And it’s not just because he misses the nookie.  Love triangle alert! Capt. Perry’s (Ward Bond) kid brother wants Mary also.  Fat chance, even Perry wants Gifford to win.  While this chemistry-less romance is exciting the females in the audience, the guys get the naval trope of Gifford bailing out his crew after a drunken brawl.



the end to every shore leave

                Back asea the Thunderfish montages its way through the Japanese fleet.  Some of this is real footage.  The Thunderfish would have won the war itself if it wasn’t for those damned torpedoes.  Queue the big set piece.  They surface when a freighter raises a white flag.  Oops, it’s a disguised warship!  Those dastardly Nips.  Actually, the U.S. used Q-Ships in the Pacific and the Japanese did not.  The Captain is wounded by machine gun fire and orders the sub to dive while he is still on deck.  This is based on the Medal of Honor actions of Howard Gilmore.  Gilmore was wounded in a duel with a gun boat which the USS Growler had rammed.  The sub dove, but when it resurfaced there was no pay back on the Japanese ship.   Duke takes command and resurfaces to ram and sink the Japanese ship.  Revenge accomplished.  Gifford in command accomplished.



"Ramming speed!"

                Enough is enough.  Back at Pearl, the crew solves the torpedo problem by dropping them on their noses.  (The idea apparently comes from a fourteen year old in the crew.)  This actually happened, but it was done by experts, not a sub crew.  Surprisingly, although everyone in the movie and in the audience is hoping for a reconciliation, Mary jilts Duke.  Oh, well – it’s back to action.

                There’s a wink-wink moment on this tour as the crew gets to watch a submarine movie.  It’s clearly “Destination Tokyo”.  The crew is bored and finds it unrealistic.  Get it?  They undergo a depth charging that is not too clicheish.  They sink a carrier because the torpedoes work now.  Then they end up in the middle of the Battle of Leyte Gulf which they win by themselves.  Not really, they get some help.



"What do you mean the wrong
actor is at the periscope?"

                As submarine movies go, “Operation Pacific” is in the middle of the pack.  As Wayne war movies go, it’s below average.  It is definitely Old School, but does avoid most of the tired clichés.  There is no going below the maximum depth scene.  No rivets pop.  There is no jettisoning debris to fake sinking.  The special effects are lame even for 1951.  I’m no fan of CGI but it beats a model in a swimming pool.  Yet, the effects were praised at the time.  Cheesy is still cheesy.  Speaking of – the music by Max Steiner is schmaltzy and I’m not just referring to the romance scenes.  There’s a laughable moment when the Japanese fleet sails into sight with stereotypical Japanese music playing.  The cinematography is fine.

                The big flaw is the plot.  The romance goes nowhere.  Throwing in a challenger for Mary’s affections is laughable.  Either Duke is going to have her or no one will.  The movie is also predictable.  Perry is dead meat as there is no chance John Wayne is going to stay subordinate to Ward Bond!  Some of the action is ridiculous.  This is especially true of the scene where they ram the disguised freighter.  Gilmore’s death was powerful enough without Hollywoodizing it.



                Classic or antique?  Definitely antique.  There are many better sub movies.  There are many better John Wayne movies.

Grade =  C