MCN Columnists
Gary Dretzka

By Gary Dretzka Dretzka@moviecitynews.com

‘Only the Brave’ follows by 55 years Hollywood’s only salute to Nisei soldiers

Look up “Nisei” in the IMDB database and only four titles pop up. Surprisingly, perhaps, the first was made in 1951, when World War II movies were being turned out like so many Fords in Dearborn. The most recent, “Only the Brave,” is struggling for distribution.
“Go for Broke!” told the story of the 442nd Regimental Combat Team. The highly decorated unit was formed in 1943, with the permission of President Franklin Delano Roosevelt, and would join the 100th Infantry Battalion in northern Africa. Both were comprised entirely of Japanese-American soldiers, many of whom had been on maneuvers with the Hawaiian Territorial Guard on that day in December that would forever live in infamy.
After the attack on Pearl Harbor, second-generation Americans were treated by their elected representatives as if they were under the direct command of Emperor Hirohito. The 5,000 Japanese-Americans who already were serving in the armed forces were stripped of any official duties, while 120,000 civilian Nisei were forced to give up their homes and businesses and move into internment camps.
The 1,400 men summarily discharged from the Hawaiian Territorial Guard would form the nucleus of the 100th Infantry Battalion. The 442nd would be made up Nisei from Hawaii and the internment camps on the mainland. As part of the long slog to victory, these units would see intense action in northern Africa, Italy and southern France.
For those us who weren’t taught the heroics of the 100th/442nd in high school, it’s important to remember that Americans of German and Italian descent were neither uprooted nor prevented from serving their country. Indeed, it wasn’t until NBC aired “Farewell to Manzanar,” in 1976, that many Americans of all ages knew the internment camps even existed.
But, then, the same could be said about the exploits of the Navajos who enlisted in the Marine Corps so that the intricacies of their native language could be exploited in the island-to-island push to VJ Day. Neither were many American students taught to appreciate the efforts of the Tuskegee Airmen, the racism faced by black servicemen after President Harry integrated the armed forces, or the great sacrifices made in the Civil War by the black soldiers of the 54th Regiment of Massachusetts Volunteer Infantry.
If it weren’t for such movies as “Go for Broke!,” “Windtalkers,” “Glory,” “The Tuskegee Airman,” “Men of Honor” and “Only the Brave” many Americans would continue to belief that our wars were fought solely by whites of various European ancestries and religions. Several decades worth of textbook publishers routinely ignored the contributions of minority Americans, as well as anti-fascist partisans and German and Japanese resistance groups. More credit was given the Sicilian Mafia – and their American brethren — for the liberation of Europe than the Nisei and code-talkers of the Choctaw, Comanche and Sioux nations.
(Perhaps, if President Bill Clinton had learned how many American pilots were rescued by Serbian fighters in World War II, he wouldn’t have been so enthusiastic about decimating Serbia’s infrastructure in the latest Balkan war. To make his belated point about genocide, Clinton ignored intelligence pointing to the presence of Al Qaeda in Bosnia and Albanian mobsters in Kosovo. But, that’s another movie.)
Not having seen “Go for Broke!,” which, then and now, was promoted as if it were more about Van Johnson than Nisei soldiers, I won’t presume to compare it to “Only the Brave.” Both movies explain the background that led to the forming of the 100th/442nd — the former less emphatically than the latter — and each dramatically describes the hellish battle to rescue 275 men of the Texas 36th Division, which had been trapped for more than a week in France’s Vosges Mountains.
Indeed, Lane Nishikawa’s debut project more closely resembles a traditional Hollywood profile in courage than any similar World War II re-creation in decades. Nishikawa’s take is informed by the testimony of survivors, and, as such, rightly focuses on their unique story. This is a movie about the Nisei … not Texas, not Van Johnson, not Audie Murphy,
Made on a budget reported to be in the neighborhood of $1 million, and shot in the wilds of Pasadena and Hollywood, Nishikawa’s only real conceit involves cutaways to the families back home in the camps and memories of life before internment.
The Nisei soldiers are played by, among others, Jason Scott Lee, Mark Dacascos, Yuji Okumoto, Greg Watanabe and Ken Narasaki, with Jeff Fahey and Guy Ecker representing the “Lost Battalion.” Nishikawa also stars as the platoon leader haunted by the death of his father (Pat Morita, in one of his final roles) and the hardships faced by the wives and girlfriends left behind (Tamlyn Tomita, Emily Liu).
Apparently, “Only the Brave” has yet to find a distributor, so it’s making the rounds of festivals and Asian-American institutions. A special screening is scheduled for Sunday, May 7, at 2 p.m., at the Directors Guild of America, 7920 Sunset Blvd. For ticket information, call 213-680-4462, ext. 68.
It was funded in part by grants from the California Civil Liberties Public Education Program and donations from families of veterans who served in the 100/442. — G.D.

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MB Cool. I was really interested in the aerial photography from Enter the Void and how one could understand that conceptually as a POV, while in fact it’s more of an objective view of the city where the story takes place. So it’s an objective and subjective camera at the same time. I know that you’re interested in Kubrick. We’ve talked about that in the past because it’s something that you and I have in common—

GN You’re obsessed with Kubrick, too.

MB Does he still occupy your mind or was he more of an early influence?

GN He was more of an early influence. Kubrick has been my idol my whole life, my own “god.” I was six or seven years old when I saw 2001: A Space Odyssey, and I never felt such cinematic ecstasy. Maybe that’s what brought me to direct movies, to try to compete with that “wizard of Oz” behind the film. So then, years later, I tried to do something in that direction, like many other directors tried to do their own, you know, homage or remake or parody or whatever of 2001. I don’t know if you ever had that movie in mind for your own projects. But in my case, I don’t think about 2001 anymore now. That film was my first “trip” ever. And then I tried my best to reproduce on screen what some drug trips are like. But it’s very hard. For sure, moving images are a better medium than words, but it’s still very far from the real experience. I read that Kubrick said about Lynch’s Eraserhead, that he wished he had made that movie because it was the film he had seen that came closest to the language of nightmares.

Matthew Barney and Gaspar Noé

A Haunted House 2 is not a movie. It is a nervous breakdown. Directed by Michael Tiddes but largely the handiwork of star, producer, and co-writer Marlon Wayans, the film is being billed as yet another Wayans-ized spoof of the horror movie genre, à la the first Haunted House movie and the wildly successful Scary Movie series. (Keenen Ivory Wayans and his brothers were responsible for the first two Scary Movie films; they have since left that franchise, which may explain why a new one was needed.) And there are some familiar digs at recent horror flicks: This time, the creepy doll and the closet from The Conjuring, the family-murdering demon from Sinister, and the dybbuk box from The Possession all make appearances. But this new film is mostly an excuse for star Marlon Wayans to have extended freak-outs in response to the horrors visited upon him—shrieking, screaming, crying, cowering, and occasionally hate-fucking for minutes on end. Yes, you read that last bit right. A Haunted House 2 puts the satyriasis back in satire.”
Ebiri On A Haunted House 2