1970 жылғы «Перл-Харборға шабуыл» фильмі

1970 film about the attack on Pearl Harbor

The film was released in the United States by Twentieth Century Fox on September 23, 1970, and in Japan by the Toei Company on September 25. It received mixed reviews from American critics, but was praised for its historical accuracy and attention to detail, its visual effects, and its action sequences.]] Veteran 20th Century Fox executive Darryl F. Zanuck, who had earlier produced The Longest Day (1962), wanted to create an epic that depicted what "really happened on December 7, 1941", with a "revisionist's approach". He believed that the commanders in Hawaii, General Short and Admiral Kimmel, though scapegoated for decades, provided adequate defensive measures for the apparent threats, including relocation of the fighter aircraft at Pearl Harbor to the middle of the base, in response to fears of sabotage from local Japanese. Despite a breakthrough in intelligence, they had received limited warning of the increasing risk of aerial attack. The film was created in two separate productions, one based in the United States, directed by Richard Fleischer, and one based in Japan. Richard Fleischer said of Akira Kurosawa's role in the project:
Well, I always thought that even though Kurosawa was a genius at film making and indeed he was, I sincerely believe that he was miscast for this film, this was not his type of film to make, he never made anything like it and it just wasn't his style. I felt he was not only uncomfortable directing this kind of movie but also he wasn't used to having somebody tell him how he should make his film. He always had complete autonomy, and nobody would dare make a suggestion to Kurosawa about the budget, or shooting schedule, or anything like that. And then here he was, with Darryl Zanuck on his back and Richard Zanuck on him and Elmo Williams and the production managers, and it was all stuff that he never had run into before, because he was always untouchable. I think he was getting more and more nervous and more insecure about how he was going to work on this film. And of course, the press got a hold of a lot of this unrest on the set and they made a lot out of that in Japan, and it was more pressure on him, and he wasn't used to that kind of pressure. Larry Forrester and frequent Kurosawa collaborators Hideo Oguni and Ryūzō Kikushima wrote the screenplay, based on books written by Ladislas Farago and Gordon Prange of the University of Maryland, who served as a technical consultant. Numerous technical advisors on both sides, some of whom had participated in the battle and/or planning, were crucial in maintaining the accuracy of the film. Minoru Genda, the man who largely planned and led the attack on Pearl Harbor, was an uncredited technical advisor for the film. Four cinematographers were involved in the main photography: Charles F. Wheeler, Shinsaku Himeda, Masamichi Satoh, and Osamu Furuya. They were jointly nominated for the Academy Award for Best Cinematography. A number of well known cameramen also worked on the second units without credit, including Thomas Del Ruth and Rexford Metz. The carrier entering Pearl Harbor towards the end of the film was in fact the Kearsarge, returning to port. The "Japanese" aircraft carrier was the anti submarine carrier Yorktown, fitted with a false bow to disguise the catapults. The Japanese A6M Zero fighters, and somewhat longer "Kate" torpedo bombers or "Val" dive bombers were heavily modified Royal Canadian Air Force Harvard (T 6 Texan) and BT 13 Valiant pilot training aircraft. The large fleet of Japanese aircraft was created by Lynn Garrison, a well known aerial action coordinator, who produced a number of conversions. Garrison and Jack Canary coordinated the actual engineering work at facilities in the Los Angeles area. These aircraft still make appearances at air shows. For the parallel filming in Japan, full scale mock ups of the Japanese battleship Japanese battleship Nagato and aircraft carrier Japanese aircraft carrier Akagi were built from the waterline up on shore, with about 90 feet (27 m) of their bows extending out over the ocean on stilts. These were used for much of the Japanese scenes on ship's decks. The one error introduced, however, was that the model Akagis bridge was built on the starboard side instead of the port side. Only two Japanese carriers were built in this fashion, with bridges on the port side: Akagi and Japanese aircraft carrier Hiryū. This was done because it was known that for the launching scenes filmed in the US, a US carrier would be used and the islands of US carriers were always on the starboard side. A few of the modified aircraft were also converted in Japan for the flight scenes filmed there. In preparation for filming, Yorktown was berthed at NAS North Island in San Diego to load all the aircraft, maintenance, and film crew prior to sailing to Hawaii. The night before filming the "Japanese" take off scenes she sailed to a spot a few miles west of San Diego and at dawn the film crew filmed the launches of all the aircraft. Since these "Japanese" aircraft were not actual carrier based aircraft, they did not have arresting gear with which to land back on the carrier, and continued on to land at North Island Naval Air Station. Yorktown sailed back to North Island and re loaded the aircraft. She then sailed to Hawaii and the aircraft were off loaded and used to film the attack scenes in and around Pearl Harbor. Aircraft Specialties of Mesa, Arizona performed maintenance on the aircraft while in Hawaii. A Boeing B 17 Flying Fortress's actual crash landing during filming, a result of a jammed landing gear, was filmed and used in the final cut. The film crew received word that one of the B 17s could not lower their starboard landing gear so they quickly set up to film the "single gear" landing. The aircraft stayed aloft to use up as much fuel as possible, which gave the film crew some time to prepare, prior to landing. After viewing the "single gear" landing footage they decided to include it in the movie. In the sequence depicting the crash, only the final crash was actual footage. For the scenes leading up to the crash they manually retracted the starboard landing gear on a functioning B 17 and filmed the scenes of its final approach. After touching down on one wheel the pilot simply applied power and took off again. The B 17 that actually landed with one gear up sustained only minor damage to the starboard wing and propellers and was repaired and returned to service. A total of five Boeing B 17s were obtained for filming. Other U. S. aircraft used are the Consolidated PBY Catalina and, especially, the Curtiss P 40 Warhawk (two flyable examples were used). Predominantly, P 40 fighter aircraft are used to depict the U. S. defenders with a full scale P 40 used as a template for fiberglass replicas (some with working engines and props) that were strafed and blown up during filming. Fleischer also said a scene involving a P 40 model crashing into the middle of a line of P 40s was unintended, as it was supposed to crash at the end of the line. The stuntmen involved in the scene were actually running for their lives. The B 17 crash along with several other scenes were reused in the 1976 film Midway. With over 30 aircraft in the air, the flying scenes were complex to shoot, and can be compared to the 1969 film Battle of Britain where large formations of period specific aircraft were filmed in staged aerial battles. The 2001 film Pearl Harbor would use some of the same modified aircraft.

Parts of the film showing the takeoff of the Japanese aircraft utilize an , Yorktown, which was commissioned in 1943 and modernized after the war to have a very slightly angled flight deck. The ship was leased by the film producers, who needed an aircraft carrier for the film, and as Yorktown was scheduled to be decommissioned in 1970, the Navy made her available. She was used largely in the takeoff sequence of the Japanese attack aircraft. The sequence shows interchanging shots of models of the Japanese aircraft carriers and Yorktown. She does not look like any of the Japanese carriers involved in the attack, due to her large bridge island and her angled landing deck. The Japanese carriers had small bridge islands, and it wasn't until after the war that angled flight decks were developed. In addition, during the scene in which Admiral Halsey is watching bombing practice, an aircraft carrier with the hull number 14 is shown. Admiral Halsey was on Enterprise, not the Essex class carrier Ticonderoga, which would not be commissioned until 1944. This is understandable, however, as Enterprise and all six of the Japanese carriers from the attack had been scrapped or sunk. In Tora! Tora! Tora!, an error involves the model of Japanese aircraft carrier Akagi. In the film, Akagis bridge island is positioned on the starboard side of the ship, which is typical on most aircraft carriers. However, Akagi was an exception; her bridge island was on the port side of the ship. Despite this, the bridge section appeared accurately as a mirrored version of Akagis real port side bridge. Secondly, all the Japanese aircraft in the footage bear the markings of Akagis aircraft (a single vertical red stripe following the red sun symbol of Japan), even though five other aircraft carriers participated, each having its own markings. In addition, the markings do not display the aircraft's identification numbers as was the case in the actual battle. The white surround on the roundel on the Japanese aircraft was only used from 1942 onwards. Prior to this, the roundel was red only. Ward was an old "4 piper" destroyer commissioned in 1918; the ship used in the movie, Finch, which portrays Ward, looked far different from the original destroyer. In addition, in the movie, she fired two shots from her #1 gun turret. In reality, Ward fired the first shot from the #1 un turreted gunmount and the second shot from the #3 wing mount. The attack on the midget submarine by USS Ward was previously mentioned in the film In Harm's Way. A full scale set was built representing the stern section of a U. S. Navy Standard type battleship showing two aft gun turrets each with three gun barrels. It was used to portray both Arizona and Nevada and other battleships. It was correct for USS Arizona but incorrect for USS Nevada which had lower triple and upper twin gun turrets. The 1/15 scale model of USS Nevada used to portray the whole ship in wide shots displayed the fore and aft turrets accurately in a 3 2 2 3 arrangement. A lattice mast (or cage mast) section representing a or battleship was built on the ground behind the full scale stern set to give the appearance that the set was on Battleship Row. The USS Arizona/USS Nevada stern section set was used for the explosion that destroyed USS Arizona, although the explosion took place in the forward #2 magazine and Arizonas stern section remained essentially intact. The film has a Japanese Zero fighter being damaged over a naval base and then deliberately crashing into a naval base hangar. This is actually a composite of three incidents during the Pearl Harbor attack: in the first wave, a Japanese Zero crashed into Fort Kamehameha's ordnance building; in the second wave, a Japanese Zero did deliberately crash into a hillside after U. S. Navy CPO John William Finn at Naval Air Station at Kāneʻohe Bay had shot and damaged the aircraft; also during the second wave, a Japanese aircraft that was damaged crashed into the seaplane tender Curtiss. During a number of shots of the attack squadrons traversing across Oahu, a white cross can be seen standing on one of the mountainsides. The cross was actually erected after the attack as a memorial to the victims of the attack. In the final scene, Admiral Isoroku Yamamoto says "I fear all we have done is to awaken a sleeping giant". An abridged version of the quotation is also featured in the 2001 film Pearl Harbor. The 2019 film Midway also features Yamamoto speaking aloud the sleeping giant quote. Although the quotation may well have encapsulated many of his real feelings about the attack, there is no printed evidence to prove Yamamoto made this statement or wrote it down.

The film had its world premiere on September 23, 1970, in New York, Tokyo, Honolulu and Los Angeles.

At the time of its initial release, Tora! Tora! Tora! was thought to be a box office disappointment in North America, despite its domestic box office of $29,548,291 making it the ninth highest grossing film of 1970. It was a major hit in Japan, and over the years, home media releases provided a larger overall profit. The film had earned in Japanese distributor rentals by 1971, becoming the sixth highest grossing film of 1971 in Japan. According to Fox records, the film required $37.15 million in rentals to break even, and had done so by December 11, 1970.

On Rotten Tomatoes, the film holds a 55% rating based on 29 reviews. The site's consensus states: "Tora! Tora! Tora! is scrupulously accurate and lays out of the tragedy of Pearl Harbor with intricate detail, but the film's clinical approach to the sound and fury signifies little feeling." On Metacritic it has a score of 46% based on reviews from 8 critics, indicating "mixed or average reviews". Roger Ebert felt that Tora! Tora! Tora! was "one of the deadest, dullest blockbusters ever made" and suffered from not having "some characters to identify with." In addition, he criticized the film for poor acting and special effects in his 1970 review. Vincent Canby, reviewer for The New York Times, was similarly unimpressed, noting the film was "nothing less than a $25 million irrelevancy." Variety also found the film to be boring; however, the magazine praised the film's action sequences and production values. Charles Champlin in his review for the Los Angeles Times on September 23, 1970, considered the movie's chief virtues as a "spectacular", and the careful recreation of a historical event. Despite the initial negative reviews, the film was critically acclaimed for its vivid action scenes, and found favor with aviation aficionados. Several later films and TV series relating to World War II in the Pacific have used footage from Tora! Tora! Tora!. These productions include the films Midway (1976; in the Tora! Tora! Tora! DVD commentary, Fleischer is angry that Universal used the footage), All This and World War II (film 1976), Pearl (TV mini series 1978), From Here to Eternity (TV mini series 1979), The Final Countdown (1980), and Australia (2008) as well as the Magnum, P. I. television series episode titled "Lest We Forget" (first airdate February 12, 1981). In 1994, a survey at the USS Arizona Memorial in Honolulu determined that for Americans the film was the most common source of popular knowledge about the Pearl Harbor attack.

Ceremony Category Nominee(s) Result43rd Academy AwardsBest CinematographyCharles F. Wheeler, Shinsaku Himeda, Osamu Furuya and Masamichi SatohBest Film EditingJames E. Newcom, Pembroke J. Herring and Inoue ChikayaBest Art DirectionArt Direction: Jack Martin Smith, Yoshirō Muraki, Richard Day and Taizô KawashimaSet Decoration: Walter M. Scott, Norman Rockett and Carl BiddiscombeBest Special Visual EffectsL. B. Abbott and A. D. Flowers1971 American Cinema Editors AwardsBest Edited Feature Film – DramaticJames E. Newcom, Pembroke J. Herring, Inoue Chikaya1971 Laurel AwardsBest Picture8th placeBest CinematographerCharles F. Wheeler, Shinsaku Himeda, Osamu Furuya, Masamichi Satoh4th placeNational Board of Review Awards 1970Top Ten Films10th place