Why We Fight: Prelude to War

Plot

Prelude to War is the groundbreaking first installment of Frank Capra's Why We Fight series, commissioned by the U.S. War Department to explain America's involvement in World War II. The film presents a stark contrast between the peaceful, democratic societies and the aggressive, militaristic fascist states of Germany, Italy, and Japan. Using extensive archival footage and newsreels, Capra illustrates how the Axis powers systematically prepared for war while democracies remained complacent. The documentary traces the rise of fascism from World War I through the 1930s, showing how totalitarian leaders manipulated their populations and expanded their territories. The film culminates with the powerful argument that American involvement in the war is not a choice but a necessity for preserving freedom and democracy worldwide.

Historical Background

Prelude to War was created in the critical months following America's entry into World War II after the attack on Pearl Harbor on December 7, 1941. The United States had maintained a strong isolationist stance throughout the 1930s, with many Americans opposing involvement in another European war. The film emerged as a crucial tool to overcome this resistance and build national consensus for the war effort. It was produced during a period of total mobilization of American society and industry for war, reflecting the government's recognition that winning hearts and minds was as important as winning battles. The documentary also represents a unique moment when Hollywood's most talented directors were recruited into government service, bringing their storytelling expertise to the war effort. The film's creation coincided with the establishment of the Office of War Information, which coordinated all government propaganda and information dissemination.

Making Of

The making of Prelude to War represents one of the most fascinating chapters in Hollywood history. When General George C. Marshall approached Frank Capra in May 1941, the director was initially resistant, believing that making propaganda films would tarnish his reputation. Marshall's persuasive argument that Capra's unique ability to connect with audiences could help save democracy changed his mind. Capra assembled a team of Hollywood's best talent, including screenwriters Anatole Litvak and Anthony Veiller, and composer Dimitri Tiomkin. The production faced enormous challenges, including the need to translate and understand enemy propaganda footage without context. Capra's team developed innovative editing techniques to repurpose Nazi and Fascist imagery against its creators, creating what he called 'using the enemy's own medicine to cure them.' The film was produced under intense secrecy, with the team working long hours to meet the urgent deadline set by the War Department.

Visual Style

The cinematography of Prelude to War represents a masterful synthesis of disparate visual sources, including newsreels, government films, and even enemy propaganda footage. Capra's team developed innovative techniques for unifying this varied material into a coherent visual narrative. The film employs stark visual contrasts between the peaceful, democratic societies and the militaristic fascist states, using composition and editing to reinforce its ideological message. The cinematographers skillfully used close-ups to humanize democratic leaders while presenting fascist figures in unflattering angles and lighting. The film's visual language draws heavily on Soviet montage theory, using rapid cuts and juxtapositions to create powerful emotional and intellectual effects. The documentary also pioneered techniques for integrating maps and graphics into narrative flow, making complex geopolitical concepts visually accessible.

Innovations

Prelude to War pioneered several technical innovations in documentary filmmaking. The film developed new techniques for integrating footage from multiple sources with different film stocks, frame rates, and visual qualities into a seamless whole. Capra's team created innovative optical printing methods to combine and manipulate archival material. The documentary was among the first to use extensive animated maps and graphics to explain complex military and political situations. The film's sound engineering was particularly advanced for its time, with the team developing new methods for synchronizing narration with varied source footage. The production also pioneered techniques for analyzing and cataloging enemy propaganda footage, creating a systematic approach that would influence future intelligence and propaganda analysis. The film's success in creating a coherent narrative from disparate sources established new standards for compilation documentaries.

Music

The musical score for Prelude to War was composed by Dimitri Tiomkin, one of Hollywood's most respected composers who had previously worked with Capra on 'It's a Wonderful Life' and 'Mr. Smith Goes to Washington.' Tiomkin created a powerful orchestral score that effectively underscored the film's emotional and narrative arcs. The music alternates between stirring patriotic themes and ominous, threatening motifs associated with the Axis powers. The soundtrack makes extensive use of leitmotifs, with specific musical themes representing democracy, fascism, and various nations. The score was recorded by a full orchestra and was considered unusually sophisticated for a documentary film of its time. The music's ability to enhance the emotional impact of the archival footage was widely praised as one of the film's strongest elements. The soundtrack also incorporated period music and sound effects to enhance the authenticity of the historical footage.

Memorable Scenes

• The opening sequence that juxtaposes peaceful American life with military parades in Nazi Germany, immediately establishing the film's central contrast
• The powerful montage showing the systematic buildup of Axis military forces while democracies disarmed
• The sequence comparing maps of free and enslaved nations, with the darkness of fascism spreading across Europe and Asia
• The climatic sequence that uses rapid-fire editing to show the global threat of fascism and the necessity of American intervention
• The emotional conclusion that shows American soldiers preparing to depart, accompanied by Walter Huston's stirring narration about defending freedom

What Critics Said

Contemporary critics praised Prelude to War as a masterful piece of persuasive filmmaking, with The New York Times calling it 'a brilliant and compelling explanation of why we fight.' Critics were particularly impressed by Capra's ability to transform dry political analysis into emotionally engaging cinema. The film's technical excellence, especially its innovative use of archival footage, was widely acclaimed. Modern critics and film historians continue to regard Prelude to War as a landmark documentary, though with more nuanced recognition of its propagandistic nature. The film is often studied in film schools as an example of how documentary form can be used for persuasive purposes. Recent scholarship has examined the film's role in shaping American understanding of World War II and its influence on subsequent documentary practices.

What Audiences Thought

Prelude to War was enormously successful with both military and civilian audiences. Military personnel reported that the film effectively clarified their understanding of why they were being sent to fight. When released to the public, it helped shift American opinion from reluctant acceptance of war to active support for the war effort. Audience surveys conducted by the War Department showed that the film significantly increased understanding of the global conflict and boosted morale. The film's emotional impact was particularly noted, with many viewers reporting that it helped them grasp the stakes of the war in personal terms. The documentary's success led to its widespread distribution in schools, factories, and community centers across America. Even decades later, veterans who saw the film during their training recalled its powerful effect on their understanding of the war.

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