First Yank Into Tokyo (1945) Poster

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5/10
We Japanese demand obedience from women! And We Get It!
sol-kay22 January 2006
(There are Spoilers) Unusual movie released on September 5, 1945 in the USA a mare three days after the war in the Pacific against Japan was officially ended with the signing of the surrender of the Japanese Empire on the deck of the US battleship Missouri in Tokyo Bay.

The film "First Yank into Tokyo" is also the first major motion picture that has the atomic bombings of the Japanese cities of Hiroshima and Nagasaki in it and the development of the "A" Bomb as a major factor in it's story-line. Which gives you the impression that it was made in less then a month and quickly rolled out of the Hollywood movie assembly line to take advantage of that war ending and earth-shaking event.

The film itself is anything but earth-shaking with an unbelievable plot that has all-American collage football hero USAAF Major Steve Ross, Tom Neal,given a full make-over to look like a "Jap" as the Japanese were call back then in wartime Hollywood motion pictures. Ross is to infiltrate a Japanese prison camp outside of Tokyo and get the secret formula for an atomic device from captured US scientist Lewis Jardine ,Marc Cramer. Jardines captors had no idea that he was working on a bomb that would blow them to kingdom come in just a few short months! the Japanese thought that he was a just a run of the mill refrigeration technician and serviceman!

Ross now calling himself Sgt. Toma Tachiyama is smuggled into the prison camp, the notorious Camp Kamuri, by a friendly Korean black-marketeer Haan-Soo, Keye Luke, to get the information from Jardine and have him smuggled out of Japan on an awaiting British Sub expected to submerge outside Tokyo Bay in a few days.

Things get a little strange for Ross/Tachiyama when he not only finds that his long lost , and given up for dead, back home in America sweetheart Abby Drake, Barbara Hale, not only survived the Battan Death-March but is working in the prison camp as it's head nurse. Even worse Abby is in love with Lewis Jardine! The very man that Ross is supposed to rescue!

With all these coincidences whizzing through Ross' already battered brain the commandant of the prison camp is non-other then Col. Hideko Okanura, Richard Loo, who back in America was Steve Ross' collage roommate. Col. Okanura knows every move and gesture that he makes which in end gives Ross away as an American posing as a Japanese soldier.

The film is really hard to take even if it was released as a moral booster to whip up the American public to the war effort since the war was all but over by the time the movie even started shooting. It's depiction of the Japanese soldiers as uncivilized brutes who treated both man and women like dirt or even worse was like kicking someone when he was already down and out and no threat at all.

Ross together with his Korean sidekick Haan-Soo hold off an entire Japanese battalion in wave after wave of suicide attacks at the end of the movie. This gives both Jardine and Abby enough time to escape and both Ross and Haan-Soo eventually, off camera, end up getting killed by the charging Japanese hoards.

You can easily see why Steve Ross decided to stay and not go back home with Abby who was still very much in love with him. Having his face changed by plastic surgery he'll never look the same again; a before James Dean-like handsome looking Steve Ross or Tom Neal. With a face like that changing colors in every scene with alien from space-like almond-shaped eyes. With a face like that and what seems like a pair of badly fitted false teeth that makes it very difficult for him to speak intelligently who could blame Ross for voluntarily staying behind and getting himself killed in action!
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5/10
This film had some ridiculous comments and an immature slant to the Japanese
Rondo-417 January 2006
This film is almost camp in its sophomoric racism. As a member of a minority that has also experienced this kind of dehumanization at a time when this was not at all uncommon I think that this movie has value as an example of what generations ..even my own daughter will never believe unless they see it. I think we all need these movies in their uncut form as a reminder (embarrassing though it is to the filmmakers) of how dumb we can get with these kinds of issues. I speak as a minority and as a fellow brother to all of you reading this. This is not shocking and the Japanese I am sure have the self confidence (as does my minority group) to point at this as a laughable example of white racism in its most childish form. It does not inspire hate for the whites who made it ...it inspires incredulity and empathy in me personally because it is truly embarrassing. I am sure it is the whites who would most like to eradicate this film and forget they (or the few who believed this) ever exhibited this kind of insipid point of view. It was an emotional time. Sometimes emotions make us say and think stupid things. This movie is an example.
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5/10
Man can once again walk unafraid
blanche-21 November 2014
That sentiment, which came at the tacked-on ending of this strange movie, didn't turn out to be true.

This film is notable mainly for the presence of Tom Neal, who was convicted of involuntary manslaughter in 1965.

Neal plays Steve Ross, a soldier who had lived in Tokyo and spoke Japanese like a native. He agrees to undergo plastic surgery to look Japanese and goes undercover in a concentration camp to rescue Lewis Jardine, a scientist with valuable secrets about the atomic bomb. It's a doubly dangerous mission because Ross' old roommate, Hideko Okanura (Richard Loo) heads the camp.

The real story here is the love story between Ross and the camp nurse, Abby Drake (Barbara Hale), whom Ross had presumed dead after they left one another back in the states. She doesn't recognize him but feels sympathetic towards him.

This is a real Hollywood/World War II artifact. The set is unbelievably cheap and obvious, the concentration camp is more like a low-budget Holiday Inn, and the Japanese are Chinese and American.

There has been criticism levied at the way the Japanese are portrayed, and I like the analogy one of the reviewers here made -- would you like to see a film with a sympathetic Al Qaeda character? It's important to watch a film and see it in the context of the times. Grant you, it's a contrived plot and not particularly good.

Barbara Hale would go on to fame as Della Street in the Perry Mason series. She's still alive and the mother of actor William Katt. Tom Neal's private life was far more impressive than his professional one. He's okay here. These films were always made very quickly, so it's hard to criticize the finer points of his performance.

The atom bomb was dropped before the release of the film, so the studio went back and threw on another ending.

Lots of films in those days did not portray the grittiness and atrocity of the war. Most of these propaganda movies were made for general audiences and soft-pedaled some of the more horrible aspects. It was a different time and the world was different. Today we can go to the movies or watch the news and see all the atrocity, violence, and horror we want. Whoopee.
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Just Awful
jeffhill121 September 2002
What with the 1943 "Gung Ho", "Guadalcanal Diary," "Purple Heart,"

and other made-during-World War II films I saw as a kid on television,

I had thought I had seen every racist anti-"Jap" propaganda movie ever

made by Hollywood. But "First Yank Into Tokyo" is one I do not

remember seeing as a kid. It is not only the most racist movie I have

ever seen, it is probably simply the worst film I have ever seen in any

category of motion picture. To me as an American who has lived in

Japan for 30 years, the Asian-Americans playing Japanese soldiers are

as obviously not racially Japanese as if someone had made a movie about

William the Conqueror fighting the Battle of Hastings in 1066 with a

cast of Europeans recruited entirely from Athens, Greece and Instanbul,

Turkey. Everything, from the physical characteristics to the

mannerisms, is wrong. On the one hand, the film presents the Japanese as bespeckled, buck

toothed, arrogant goofs. On the other hand, when portraying a

Japanese prisoner of war camp during World War II, the film makes the

place a country club compared to the real horrors encountered by anyone

who was held in a Japanese POW camp during the war.

Overall, the film radiates an overwhelming ignorance and apathy by

the film makers towards any authenticity whatsoever.
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1/10
a really dumb movie--the worst of the WW2 propaganda films
planktonrules12 June 2005
Warning: Spoilers
I actually like seeing this movie BECAUSE it's so bad. I mean REAL bad! The movie was made just before the end of the war. The problem is, when release time came, the Japanese had the unmitigated nerve to surrender BEFORE the movie could be released. The producers scrambled and decided to change the movie to make it more timely. Gone was the original plot--now the espionage film was about an American soldier rescuing an atomic scientist from a Japanese prison camp! To do this, our hero is given extensive plastic surgery so he looks Japanese. Unfortunately, he ended up looking about as Japanese as Orson Welles, but this didn't seem to matter to the producers. Then, he infiltrated the camp only to find not only the scientist but the hero's fiancée!!! Later, he escaped with them both but just as they are about to enter the sub for safety, the Japs arrive!! The hero tells them to go--he will stay and cover their escape by sacrificing his life. Why did he do this? Well, according to him it was BETTER to die than be stuck with THIS face for the rest of his life--though I wondered WHY he didn't just get plastic surgery AGAIN?! The dummy should have thought of this! In addition to the rather insulting ending, the Japanese soldiers in the camp were usually portrayed as sex-crazed idiots! The only one who seemed civilized was the commandant, who initially treated the female lead with respect. Only later did you find out it was all an act!!! He was not about to take NO for an answer!!!! He told her that it had been an act and down deep ALL Japanese men are alike! So, this is a 100% non-politically correct and stupid film. Considering world events, it is understandable why the Japanese were portrayed in such a silly fashion--though this one goes beyond any other film of the era. A definite curiosity!!
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7/10
Not too bad for a B movie
Michael195812 September 2002
Interesting plot, not overloaded with the usual World War 2 Era derogatory remarks about the Japanese-but not politically correct by today's standards. It is a late WW2 film piece concerning an American soldier who undergoes plastic surgery to allow himself to look Japanese and infiltrate a prison camp in order to gain information from an American prisoner being held there. Tom Neal does a good job with the role. Seeing Keye Luke in a non Charlie Chan or Dr. Kildare series was a plus for the film.
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5/10
That'll show 'em !
dsewizzrd-114 December 2008
Warning: Spoilers
Daft propaganda film of the "duck and cover" variety.

An American airman undergoes surgery to make him look Japanese (sticky tape on the forehead and comic over-sized upper teeth ! (In one scene the airman takes off his shirt and he has chest hair)) so that he can go to a POW camp in Tokyo and get figures from a nuclear scientist for a nuclear bomb.

The POW camp is nice because they have female nurses in the hospital, which leads to him meeting his fiancée captured in the war (what was she doing ?).

The utterly ludicrous plot is further excruciated by the laughably bad Japanese accent and the fact that the airman can't even bow properly.
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7/10
Better than you've heard
cbonjior4 April 2000
When this film is mentioned at all, it is generally with a sneer. It has a reputation for being "cheesy," mostly because it feature Tom Neal in "Japanese" makeup. It's easy to judge movies from the past with today's eye and say they are racist, insensitive, etc., but keep in mind this was made while we were still at war. The disjointed ending is a result of the A-bomb being dropped before the film was finished. A new finale was thrown together so the whole thing made more sense. Not a great movie, but not bad...not bad at all.
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3/10
A bizarre time capsule of WW2 racial politics
SpotMonkee6 June 2020
Warning: Spoilers
At one point, during the third act there's a bit where a belly dancer appears flailing a pair of katana around much to the voracious delight of a bunch of drunk Japanese soldiers. I kinda wish the rest of the movie had kept that energy because it would've been a hell of a lot more entertaining, if still not approaching anything "good".

First Yank Into Tokyo is every World War II Allied propaganda cliche and trope distilled down into a sub-90 minute runtime and executed with a B-level budget. Melodrama? Check. Yellowface? Check. Richard Loo? Check. Cheap standing backlot sets only mildly repurposed to try and fit their new exotic setting and stretching suspension of disbelief in the process? Check. (An Imperial Army compound looks suspiciously like a swanky mansion in Pasadena.) A plot constantly having to be rewritten and revised to keep up with the actual progress of the still-ongoing war? Check. Woeful misunderstanding/misrepresentation of wartime Asian governments, people, and culture both allied and enemy? Double check. Just plain old fashioned racism? Check.

This movie is weird. It's plot is about an American Air Force ace (Tom Neal of Detour fame) who gets what can best be described as yellowface surgery to infiltrate a Japanese prison camp to rescue a scientist with the Manhattan Project. We're told that our all-American hero (he plays football and everything) is uncannily good at imitating Japanese language and mannerisms to the point of being able to fool any native. Said chameleon-like ability involves Neal speaking in a bizarre pseudo-racist caricature of what a stroke victim with dementia and a speech impediment thinks a Japanese person sounds like. It'd be offensive if it wasn't so damn weird, whatever Neal's trying to do it just sounds like he has a bunch of cotton stuffed between his gums. Even weirder, it's a put-on that almost none of the other "actual" Japanese characters (most of whom are at least played by actual Asian actors) attempt; they just sound a bit stilted and day "excellency" and "honorable" a lot.

"More weird than offensive" is really an aphorism that can apply to this whole movie. The movie has such a strange take on race that one wonders if it was an attempt to be avant-garde, however unlikely that is. We're told repeatedly that Neal's surgical procedure is irreversible, a fact that is treated as some great tragic sacrifice, that this handsome square-jawed Caucasian will have to spend the rest of his life looking Japanese. Not "being" Japanese, but just "looking" Japanese is a fate worse than death - Neal chooses to die an extremely avoidable death and effectively abandon his true love to fate just because he can't stand the idea of going back to America looking Asian. "Whenever she looks at me, she'll just think of the other Japs, the ones who hurt her," he says with all the gravitas he can muster, as she is literally begging him to come with her.

Of course Neal isn't ACTUALLY Japanese, as the movie is quick to remind us. Again. And again. After all, what gives him away to his fellow whites is not his obviously fake forehead or eyelids, but his air of compassion and humanity literally all other Japanese are devoid of. The movie reiterates again and again how the Japanese are soulless, lecherous, ruthless monsters who will stop at nothing to conquer the world and can't be reasoned with even by superior American post-secondary education. That the film ends in the atomic bombing of Hiroshima and Nagasaki (the first time said event had ever been discussed or shown in a movie) and a heroic overture with a narrator declaring that "man can once again live in peace", this film just screams the exterminationist rhetoric most other WW2 films just hint at. Funny how as much America (somewhat rightfully) lambasted Japan for its racial supremacist and genocidal tendencies, it seems more than happy to coopt that very same rhetoric for its own ends.

Which brings us to possibly the film's only real artistic or historical significance; the character Haan-Soo (played by the ever-underrated Keye Luke). Haan, a Korean black marketer and secret agent of la resistance, is the film's only real positive Asian presence, insofar as he's the only significant non-white character to not be characterized as "kill this person, they are insane and irredeemable, kill them all". Haan deliberately plays on racial stereotypes as a willfully subsurvent, bootlicking handyman to cover for his clandestine activities. Like Neal, he's wearing a racial mask, hiding his true intentions behind broad stereotypes to ingratiate himself among his enemies. Haan is a million times more interesting a character than Neal, least of all because he's one of the only on-screen, wartime acknowledgements of Korean involvement in the Allied cause, albeit in a roundabout and heavily fictionalized way. It's also the one place where the movie's racial politics approaches some degree of nuance, possibly unintentionally. To the average American (especially pre-war), there was no meaningful difference between a Japanese or Korean (assuming they even knew there was one), they were all just "Oriental" and "foreign" and lumped together. But in this movie, where to be Asian is a fate worse than death, Haan is an unambiguously positive presence. The fact that the Japanese characters are played by exclusively non-Japanese actors, effectively one massive act of racial masking, just adds to this unintentional metatext.

Speaking of Japanese characters played by non-Japanese actors, Richard Loo is someone who really gets the short end of the stick in retrospect. An actor known for playing precisely one very specific type of character in one very specific circumstance, the man just oozes character actor charisma. "Sleazy Japanese officer" might've been his type, but damn if he wasn't good at it. Self-assured, menacing, treacherous and completely devoid of sympathy; he leans on every stereotype and beat you'd anticipate and you end up kind of loving him for it. It's kind of telling that along with Keye Luke, he ends up giving the most compelling performance in the whole movie. Our "heroic" leads might be blander than soggy saltines, but at least we have Loo and Luke there to ham things up and actually, y'know, act.
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4/10
Sometimes the propaganda department went way overboard.
mark.waltz20 January 2021
Warning: Spoilers
It's a shame that they made Tom Neal take a "detour" to the tanning salon before being made up to appear to be Japanese in this overly dramatic war drama that has not stood the test of time very well. He looks like he's suffering from a sun stroke rather than the attempt to look Japanese as he infiltrates a Japanese prisoner of war camp to help release an officer being held there. He gains the suspicions of captured head nurse Barbara Hale, forced to continue her work, but on the side of the Japanese. She's constantly ogled by Japanese officer Richard Loo, a stereotypical hot tempered enemy who plays charming but fights nasty.

Well made technically but ridiculously acted and written, this leads me with the question of why Neal felt like he had to act like he had cotton balls in his mouth. There is absolutely no believable aspect of his performance, and in no way does his mixing of a Jimmy Stewart imitation with Charlie Chan work other than to get the audience to laugh at him.

Hale is sincere as the tough nurse unafraid to stand up to the evil Loo who happens to have a movie of Neal when he was a football player and was convieniently his college roommate. Absurd on every level, this is not Hollywood patriotism at its finest. Poor Keye Luke, as a Korean man also hiding his nationality, has to be outlandishly subservient as a lowly camp slave like worker who is assisting Neal. And that title? They didn't seem to be anywhere near Tokyo.
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8/10
SUPERB ACTING
cbell-129 May 2002
This movie was so convincing, it might be difficult to watch. The acting was so real you can feel the hatred. I've watched it several times. I was disappointed at the ending, because Major Ross (Ton Neal) and Abby Drake (Barbara Hale) almost reunited. But Major Ross felt that his "changed appearance" would get in the way of their life. He forgot that if he had plastic surgery to change his appearance then he could change it again (just not the way it was before).
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5/10
The Most Deliriously Stupid Thing I've Ever Seen
ytts1323 October 2020
Warning: Spoilers
I can't stop watching this. Somehow, someway, this thing has wormed itself into my brain and won't let go. It's just so compelling in how bizarre and misguided and deliriously stupid it is on so many levels (you could write an entire dissertation on this movie's very very very very bad and weird but also complicated views on race).

At one point, during the third act there's a bit where a belly dancer appears flailing a pair of katana around much to the voracious delight of a bunch of drunk Japanese soldiers. I kinda wish the rest of the movie had kept that energy because it would've been a hell of a lot more entertaining, if still not approaching anything "good".

First Yank Into Tokyo is every World War II Allied propaganda cliche and trope distilled down into a sub-90 minute runtime and executed with a B-level budget. Melodrama? Check. Yellowface? Check. Richard Loo? Check. Cheap standing backlot sets only mildly repurposed to try and fit their new exotic setting and stretching suspension of disbelief in the process? Check. (An Imperial Army compound looks suspiciously like a swanky mansion in Pasadena.) A plot constantly having to be rewritten and revised to keep up with the actual progress of the still-ongoing war? Check. Woeful misunderstanding/misrepresentation of wartime Asian governments, people, and culture both allied and enemy? Double check. Just plain old fashioned racism? Check.

This movie is weird. It's plot is about an American Air Force ace (Tom Neal of Detour fame) who gets what can best be described as yellowface surgery to infiltrate a Japanese prison camp to rescue a scientist with the Manhattan Project. We're told that our all-American hero (he plays football and everything) is uncannily good at imitating Japanese language and mannerisms to the point of being able to fool any native. Said chameleon-like ability involves Neal speaking in a bizarre pseudo-racist caricature of what a stroke victim with dementia and a speech impediment thinks a Japanese person sounds like. It'd be offensive if it wasn't so damn weird, whatever Neal's trying to do it just sounds like he has a bunch of cotton stuffed between his gums. Even weirder, it's a put-on that almost none of the other "actual" Japanese characters (most of whom are at least played by actual Asian actors) attempt; they just sound a bit stilted and day "excellency" and "honorable" a lot.

"More weird than offensive" is really an aphorism that can apply to this whole movie. The movie has such a strange take on race that one wonders if it was an attempt to be avant-garde, however unlikely that is. We're told repeatedly that Neal's surgical procedure is irreversible, a fact that is treated as some great tragic sacrifice, that this handsome square-jawed Caucasian will have to spend the rest of his life looking Japanese. Not "being" Japanese, but just "looking" Japanese is a fate worse than death - Neal chooses to die an extremely avoidable death and effectively abandon his true love to fate just because he can't stand the idea of going back to America looking Asian. "Whenever she looks at me, she'll just think of the other Japs, the ones who hurt her," he says with all the gravitas he can muster, as she is literally begging him to shut up and come with her.

Of course Neal isn't ACTUALLY Japanese, as the movie is quick to remind us. Again. And again. After all, what gives him away to his fellow whites is not his obviously fake forehead or eyelids, but his air of compassion and humanity literally all other Japanese are devoid of. The movie reiterates again and again how the Japanese are soulless, lecherous, ruthless monsters who will stop at nothing to conquer the world and can't be reasoned with even by superior American post-secondary education. That the film ends in the atomic bombing of Hiroshima and Nagasaki (the first time said event had ever been discussed or shown in a movie) and a heroic overture with a narrator declaring that "man can once again live in peace", this film just screams the exterminationist rhetoric most other WW2 films just hint at. Funny how as much America (somewhat rightfully) lambasted Japan for its racial supremacist and genocidal tendencies, it seems more than happy to coopt that very same rhetoric for its own ends.

Which brings us to possibly the film's only real artistic or historical significance; the character Haan-Soo (played by the ever-underrated Keye Luke). Haan, a Korean black marketer and secret agent of la resistance, is the film's only real positive Asian presence, insofar as he's the only significant non-white character to not be characterized as "kill this person, they are insane and irredeemable, kill them all". Haan deliberately plays on racial stereotypes as a willfully subservent, bootlicking handyman to cover for his clandestine activities. Like Neal, he's wearing a racial mask, hiding his true intentions behind broad stereotypes to ingratiate himself among his enemies. Haan is a million times more interesting a character than Neal, least of all because he's one of the only on-screen, wartime acknowledgements of Korean involvement in the Allied cause, albeit in a roundabout and heavily fictionalized way. It's also the one place where the movie's racial politics approaches some degree of nuance, possibly unintentionally. To the average American (especially pre-war), there was no meaningful difference between a Japanese or Korean (assuming they even knew there was one), they were all just "Oriental" and "foreign" and lumped together. But in this movie, where to be Asian is a fate worse than death, Haan is an unambiguously positive presence. The fact that the Japanese characters are played by exclusively non-Japanese actors, effectively one massive act of racial masking, just adds to this unintentional metatext.

Speaking of Japanese characters played by non-Japanese actors, Richard Loo is someone who really gets the short end of the stick in retrospect. An actor known for playing precisely one very specific type of character in one very specific circumstance, the man just oozes character actor charisma. "Sleazy Japanese officer" might've been his type, but damn if he wasn't good at it. Self-assured, menacing, treacherous and completely devoid of sympathy; he leans on every stereotype and beat you'd anticipate and you end up kind of loving him for it. It's kind of telling that along with Keye Luke, he ends up giving the most compelling performance in the whole movie. Our "heroic" leads might be blander than soggy saltines, but at least we have Loo and Luke there to ham things up and actually, y'know, act.
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Splendid acting?
rmax30482312 September 2002
I agree that a movie -- or almost any other cultural artifact -- should be judged on the basis of the times and circumstances of its production. It's unfair to judge what people have done in the past through the prism of our own prevailing prejudices. Barbara Field, the African-American historian, was critical of Lincoln's deciding to wait until after Antietam to announce the emancipation of slaves -- this in Ken Burns' documentary on the Civil War. That sort of statement has always irritated me, brimming over with self righteousness. (I wonder how historians will judge us a hundred years from now. I hope they're kinder to us.) So I am willing to take the temporal context into account. The simple fact is that a movie that humanized the enemy would not have been made in 1945 -- or for years afterward for that matter. Steinbeck's script for "The Moon is Down" was criticized for turning a German soldier into something resembling a human being. And in "The Desert Fox" (ca. 1950) James Mason's touching performance as Erwin Rommel was blasted. In the later "The Desert Rats," playing Rommel again, Mason was forced to resort to the usual stereotype. How would you feel if you now saw a movie that included a partly sympathetic portrayal of a member of Al Qeda? Given all that, this movie is pretty crummy. The crumminess is not only in the script, although it's certainly there too, but especially in the performances, and most notably in Tom Neal's. He was out of his depth, although the part was simple enough. (He was IN his depth in "Detour".) He doesn't even get the Japanese bow right. The bow is face down, smart and snappy, in real military life. Neal bows slowly from the hips down, keeping his face up all the time, as if involved in some particularly outre tai ji exercise. The make up job is astonishing. And his speech! He evidently has a set of false teeth (all Japs are buck-toothed) which make him sound as if he's speaking through a mouth full of tooth paste. On top of that he struggles desperately to impose a "Japanese" accent which consists mostly of substituting [r] for [l] and vice versa. Let's just say he speaks his lines memorably. Sure it's a racist movie, but it WAS wartime, and it's understandable -- a lot more understandable than rounding up Japanese-American families and shuffling them off to internment camps. THAT manifestation of racism is less justifiable. But the movie is pretty bad nonetheless, unless you can enjoy it as pozlost.
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On Behalf of Hollywood, I Would Like to Apologize to All Japanese Who Were Offended By This Film
Sargebri30 May 2003
During World War II, Hollywood tried everything to boost the morale on the homefront. Some films were great, but other films reached into the bottom of the barrel especially this one. This has got to be one of the most racist films in the history of the medium. What especially was disturbing were lines like "You all should be put in cages", the film makes it seem like that they are trying to portray the Japanese were less than human. I don't mind movies that try to boost morale, but there is no place for racism in the movies.
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i swear i remember this film with a different title
JWyrozumski16 September 2002
I swear when I watched this movie as a child it was called " I Was a Jap for the F.B.I." Does anyone remember that or am I thinking of something else? I remember that the main character undergoes plastic surgery and the only way the Japanese are able to discover him is by watching films of old American college football games when he played and noticed he had a habit of twiddling his thumbs which he is still doing during a secret meeting with the Japanese.
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Meet me in Japan
dbdumonteil17 March 2012
A pure propaganda movie,with a screenplay so far-fetched that you will not find a touch of realism in this extravagant "mission".

The mission which concerns a scientist prisoner of the Japanese is not particularly exciting;but the main interest is somewhere else ;the Steve and Abby reunion is the real meat of the story,it's pretty original.

Steve and Abby (a nurse)became lovers in the war;her hospital was bombed and Steve thought she was dead;of course she is not,she is alive in the same camp as the scientist Jardine ;she cannot recognize her former love ,cause the American surgeons gave his face Japanese features (and it's irreversible).Steve cannot reveal his true identity and ,although Abby hates him and even wants to have him whip,she cannot help but wonder why ,when she looks at him,she's all in a fluster "his eyes! his eyes! " she says ;So the principal question becomes:WHEN will they really meet again?
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