VAN JOHNSON

I’ve been thinking about those things today because last night we watched Van Johnson in the 1954 film The Last Time I Saw Paris. He co-starred with Elizabeth Taylor. Others in the cast were Walter Pidgeon, Donna Reed, Eva Gabor, George Dolenz, and Sandy Descher.

This film, which was loosely based on F. Scott Fitzgerald’s short story “Babylon Revisited,” is a long flashback to Paris at the end of World War II in Europe. Johnson plays Charlie Wills, a soldier and aspiring novelist who works as a reporter for the military newspaper Stars and Stripes. At the beginning of the tale, he has returned to Paris from the United States, and he reminisces about the bitter circumstances under which he had left the City of Light: During the celebratory bedlam in Paris when the war ended, Charlie winds up at a party at the home of James Elwirth (Pidgeon), an impecunious American chancer who believes in living high even if one can’t afford it.  Charlie is invited to the home by Elwirth’s quite proper daughter Marion (Reed), but is quickly infatuated with Marion’s ne’er-do-well sibling, Helen (Taylor).

Charlie and Helen marry and have a daughter, Vicki, played by Descher. Marion — who is broken-hearted over losing Charlie to the sister of whom she disapproves, settles on a rebound match with a thoughtful Frenchman, Claude Matine (Dolenz).

ELIZABETH TAYLOR

The marriage of Charlie and Helen goes well, even while they’re living from hand to mouth, but Charlie is gradually losing confidence in himself as one publisher after another rejects his novels. Then their world is permanently altered as oil is discovered on Texas land, thought to be barren, that Elwirth jokingly gave the couple as a wedding gift. While Helen struggles to maintain stability in the family, Charlie sinks further and further into a morass of depression and decadence.

When this movie was released, some critics savaged it. It is true that the story is implausible and that some of the acting is either arch or wooden. Eva Gabor, as socialite Lorraine Quarl, who plays a supporting role in Charlie’s decline, gives exactly the kind of performance one expected of the Gabors. Descher, who was only nine years old, is gag-me cute in the role of Vicki –and she inexplicably never ages as the years roll by.

SANDY DESCHER

Van Johnson’s light comedy is entertaining, but his drunk scenes are simply unbelievable. I once heard from a stage veteran that an actor who can’t play a convincing drunk is no actor at all. That might be too harsh a judgment on Johnson, but this film suggests that faux inebriation was not his strong suit.

WALTER PIDGEON

Elizabeth Taylor and Donna Reed did passably well as the sisters, although a scene in which Taylor’s character is mortally ill is so unconvincing as to be ludicrous. Walter Pidgeon, on the other hand, is delightful as the irresponsible but  charismatic Ellswirth and Dolenz plays Claude as the most realistic figure in the film.

I don’t know if this is true, but I have read that the producers didn’t use the title of Fitzgerald’s story because they were afraid movie-goers would think the film had a biblical theme. I wondered about the title they did use, particularly because its lyrics express sentiments exactly opposite of those in this film. The song “The Last Time I Saw Paris” is heard in the background throughout the movie. It turns out that song was written in 1940 by Jerome Kern and Oscar Hammerstein, and it was sung by Ann Sothern in the 1941 film Lady be Good. It won the Oscar for best song. The song was composed in the aftermath of the German occupation of France. There were six versions of the song on the hit charts by the end of 1940, and Kate Smith bought the exclusive right to sing it on the radio for six months.

As is often the case with movies, the shortcomings of The Last Time I Saw Paris do not add up to a failure. The film is nicely photographed — much of it in Paris, it captures the mood and mores of the early ‘fifties, and it is entertaining. It’s also an inoffensive opportunity to spend a couple of hours indulging oneself  in the  kind of escapism provided by “golden-age” stars such as Van Johnson and Elizabeth Taylor.

You can hear the title song, presented in the mood in which it was written, by clicking HERE. The performance is by Anne Shelton, a fine British vocalist who devoted a lot of time and energy to entertaining troops via radio and in person.

A case in point is William Henry Harrison, the ninth president and the subject of a book by the same name — one of the Times Books series of short biographies of the presidents. The author is New York Times columnist Gail Collins.

Harrison was in office hardly a month, but he still made his marks. He was the first presidential candidate to personally campaign for the office. He was the last president born before the Declaration of Independence. He gave the longest inaugural address. He was the first president to be photographed while in office. He was the first president to die in office. He was the first president to die in office of natural causes. He served the shortest term — 31 days. He was one of two sets of three presidents who served in the same year. He was the only president whose grandson was president.

As Gail Collins recounts with a lot of good humor, the campaign of 1840, in which the Whig Harrison defeated the incumbent Democrat Martin Van Buren, was a first of its kind, too, in the sense that it was the first really populist election in the United States, the first one that wasn’t dominated by a political and economic elite.

Harrison had unsuccessfully challenged Van Buren in 1836 when the fractious Whigs ran two candidates — basically a northern and a southern. But in 1840, the party got behind Harrison and he far out paced Van Buren in electoral votes, although the popular vote was much closer. More than 80 percent of the eligible voters participated — a statistic that must be filtered through the fact that women and a great many men did not have the franchise in those days.

As Collins describes it, the Whig campaign was like a three-ring circus, with literally thousands of stump speakers going from town to town, parades, rallies, and dinners with plenty of alcohol.

MARTIN VAN BUREN

The campaign was further distinguished by the Whigs’ successful effort to sell the public a candidate whom they could appreciate — a kind of frontiersman, one of the common folks, whose idea of a good time was flopping down in his log cabin and swilling hard cider.

In actual fact, Harrison was born on a Virginia plantation, was well educated and very mannerly, drank only in moderation and disapproved of drunkenness, and lived in a 16-room farmhouse in Ohio.

The 21st century voter may not be surprised to hear that the facts didn’t matter. The public bought the lie, which was encouraged with all kinds of “log cabin” events, images, songs, and verses, and other Whig politicians were happy to let some of the backwoods shading rub off on them.

TECUMSEH

This was also the campaign of “Tippecanoe and Tyler Too” — the “Tyler” being a reference to vice-presidential candidate John Tyler. Harrison had served in the army before retiring to his farm, and he was involved in several fights with the Indians and British in the struggle over the Northwest Territories. In one of those battles, near the juncture of the Tippecanoe and Wabash rivers in the Indiana Territory, Harrison, who was governor of the territory, routed a settlement being built by the brothers and Shawnee leaders Tecumseh and Tenskwatawa (“the Prophet). Harrison had far more men, and he took far more casualties, and the battle wasn’t really decisive in the long run. He had a couple of much greater successes under his military belt. But, hey, “Tippecanoe and Tyler too” rhymes, and the alliteration was irresistible.

It is well known that Harrison was inaugurated on a bitter winter day, and that he foolishly appeared at the outdoor event — including his two-hour speech — without a hat or coat. Gail Collins explains further that the amiable president-elect arrived in Washington already exhausted from both celebratory events and sieges by office-seekers, and that the pressure didn’t let up in the capital.

The author writes that Harrison was 67 years old when he campaigned for the office, and that the Democrats dismissed him as a feeble old man — not a far-fetched idea in 1840, when a man of that age frequently was in his dotage. Collins says Harrison’s recklessness might have been his attempt to refute the Democrats’ claims. In any case, shortly after the inauguration, he came down with what was probably pneumonia. He died on April 4, 1841.

KATE SMITH

During World War II, the popular radio star Kate Smith used to end her daily broadcasts by saying, “And remember … if you don’t write, you’re wrong!” Kate Smith, who was a major supporter of the war effort in general and of American troops in particular, was prodding those at home to send letters to soldiers and sailors. I don’t know whether Kate Smith introduced that expression, and that inspired a songwriter, or the other way around. I do know that a writer named Olive Kriser wrote a song by that title in 1943, and it, too, urged families and friends to write to the troops.

For me, that phrase has always evoked what I imagine was a melancholy aspect of the war years: young men and women suddenly separated from their families, friends, neighbors, familiar surroundings, everyday routines, and hurled into the maelstrom, wondering about the folks, about ever seeing them again, longing for a mundane conversation around the kitchen table, a cheese sandwich made by Mom. And yearning, yearning, for a word from home.

That was the real-life experience of tens of thousands of young people, including Joseph Farris of Danbury, Connecticut, who was drafted, trained, and shipped off to the fighting fields of France and Germany shortly after leaving high school.

Farris, who has become a very successful cartoonist and illustrator, has recreated his experience in A Soldier’s Sketchbook, an elegant volume published by National Geographic. Farris got lots of letters, but in this book, he reproduces many of the letters that he wrote to his parents and two brothers during the three years, beginning in May 1943, that he spent in the United States Army. The book also contains facsimiles of some of those letters and of other documents, photographs of Farris and some of his colleagues, and watercolors and drawings that he did while he was in service.

Farris provides a narrative in which he demonstrates how he pulled his punches in his letters home, both because military censorship sharply restricted what combatants could write about and because he didn’t want to worry his family. The folks wouldn’t know until it was well over that Farris — who wound up heading a heavy machine-gun platoon — came under heavy fire, watched his fellows soldiers being blown away, shivered in the cold and wet of the foxhole, and confronted the fact that any hour could the last in his brief life.

By the time Farris got into combat, Italy had surrendered, Athens had been liberated, France had been invaded, and the German siege of Leningrad had been broken. The jig was up for the Third Reich. So although he experienced the worst of the war, he also had some less lethal duty, moving through towns in France and Germany and temporarily occupying houses that were far more comfortable than a hole in the ground.

A touching aspect of this book is the writer’s lack of self pity and his consistent concern for the well being of his parents and brothers. While he was still in harm’s way, he wrote to his younger brother George, “Dad, Mom, & I are exceedingly grateful, kid, that you are around to help out. Mom & Dad depend a helluva lot on you, so don’t let them down. You may work a little harder than many other fellows your age but in the long run it’s going to pay. You don’t know how thankful I am for the training I got in the store” — a reference to his family’s Danbury Confectionery — “not only the business experience but the systematic method necessary. You’re fortunate in having the swellest folks possible. If I can treat my future children half as good as Mom & Dad have treated us I’ll feel that (I) have done my job well.”

Throughout his military service, Farris thought about his plans for a career in art, and often asked his family to send him supplies. His work has appeared in the New Yorker and in other major publications. You can see many of his cartoons and illustrations by clicking HERE.

For another interesting aspect of World War II, click HERE to read about the Women’s Land Army. The site includes many letters written home by Genevieve Wolfe, who was one of a group of 40 young women from West Virginia who traveled to a camp in Ohio to provide labor needed on farms in the northern part of the state.

It could and it will, because while it isn’t true that we know nothing about Eva Braun, it is true that we know relatively little, considering that she was the consort of one of the most recognizable and most reviled men in human history.

Heike B. Görtemaker, tries to bring some clarity to this subject in Eva Braun: Life with Hitler, which was originally published in German. The very things that have made Braun an obscure figure up to now were obstacles to the author’s work, beginning with the fact that Hitler wanted to be perceived as a solitary messiah whose life and energy were devoted to lifting Germany and its people from the ignominious consequences of World War I.

 In order to maintain his image, Hitler kept the very existence of Eva Braun a secret from the German people, and he kept her at least at arm’s length and often much farther when they were in the company of his inner circle. Hitler married Braun on the day before they both committed suicide in a bunker in April 1945 while the Red Army was literally striding through the Reichstag grounds about 25 feet above their heads. He once said that he had never married because  he needed the political support of German women and that he would lose some of his appeal if he had a wife. “It’s the same with a movie actor,” Hitler said. “When he marries he loses a certain something from the women who adore him. Then he is no longer their idol as he was before.”

When I read that in Görtemaker’s book, I wondered what “certain something” Hitler had that would attract any woman, never mind millions of them. Evidently the author wonders about that, too. When she writes that Braun’s life was shaped by Hitler’s power, his world view, and his “charismatic attraction,” she adds parenthetically, “however difficult it may be to explain what that consisted in.”

Görtemaker is convinced that neither Braun nor the other women around Hitler — principally the wives of men like Albert Speer and Joseph Goebbels — were simply adornments who were expected to be seen but not heard. On the other hand, the author finds it impossible to say definitively how much Braun and the others knew about German policy, and particularly about the Holocaust. They had to know of the persecution of Jews in Europe; it was no secret. But discussion of the extermination program in Hitler’s presence was forbidden when he was in his “family circle,” as it were, meaning the crowd that frequented Berghof, Hitler’s frequent refuge in Bavaria.

Hitler met Braun in 1929 when he was 40 and she was 17 and working as an assistant to Dietrich Hoffmann who became the privileged official photographer of the Nazi party and the Third Reich. Görtemaker speculates that the couple were not intimate until 1933 when Braun had become an adult . At first they saw each other only intermittently, and this apparently weighed on Braun and was the cause of two suicide attempts. After the second incident, Hitler arranged for Braun to have her own home in Munich and to have regular access to Berghof, where her assertion of her prerogatives irritated some of Hitler’s coterie.

Whatever attracted Braun to Hitler in the first place, long before it was clear that he would lead the German nation, her commitment to him was complete. Görtemaker writes that the level of her loyalty was the object of admiration to at least some of Hitler’s associates and it may have been the one thing that most endeared her to him. There’s no evidence that she pressured him to marry her or that she complained about being kept out  of the public eye. And, in the most dramatic possible demonstration  of her constancy, however misguided, she went to Berlin against Hitler’s wishes with the clear intention of dying with him while many others, including Speer and Hoffmann, were already concocting lies about being “outsiders” in Hitler’s camp. The normal confidentiality of the culture in which Hitler lived, coupled with the loss and destruction of written records and the unreliability of later testimony by turncoats trying to save their own hides and reputation may mean that we’ll never know more about Eva Braun than Görtemaker has been able to tell us in this book. That’s unfortunate, not because Braun was so different from others who supported Hitler, but because she was so like them. She was in all respects an ordinary person who came under the still elusive spell of a bumbling, absurd little man who terrorized the world for more than a decade

JOHNNY MARKS

We usually stick to the public radio classical music station, but once in while, when that station delves into music we find grating, we have switched to the commercial station, but the steady diet of what seems like a dozen songs can be nauseating. Earlier today, within less than 30 minutes, that station played yet again “Rudolph, the Red-Nosed Reindeer” by Gene Autry, “Rockin’ Around the Christmas Tree” by Brenda Lee, and “Have a Holly Jolly Christmas” by Burl Ives. It occurred to me as I reached for the remote that all of those songs were the work of Johnny Marks. That’s no small thing when one considers that relatively few pop Christmas songs have become standards.

“Rudolph, the Red-Nosed Reindeer” was actually a collaboration with Marks’s brother-in-law, Robert May, a Phi Beta Kappa graduate of Dartmouth, who worked as a copywriter for Montgomery Ward.

ROBERT MAY

For many years, the retail chain had been giving away Christmas coloring books to children who visited Santa Claus at Montgomery Ward stores, but in the 1930s, turned to creating its own book, which featured the tale of Rudolph, written in verse by Robert May. By 1946, more than six million copies of the book had been distributed. To its credit, Montgomery Ward, which originally owned the copyright to Rudolph because it had been written by an employee as an assignment, turned the rights over to May in 1947. Marks turned May’s poem into lyrics and set it to music. Although other singers turned down the chance, Gene Autry recorded the song for the Christmas season of 1949 and the disc sold more than 2.5 million copies the first year and has sold tens of millions since.

Incidentally, May’s achievement was remarkable in its own right in that he managed to add a character to the ages-old Santa Claus legend.

Marks, who attended Colgate and Columbia universities, also wrote “I Heard the Bells on Christmas Day,” a musical adaptation of a poem by Henry Wadsworth Longfellow. The song was recorded by several major artists, including Harry Belafonte, Bing Crosby, and Kate Smith.

From what I’ve read, although “Rudolph” made Marks a rich man, he wasn’t crazy about being remembered only for that and a few other Christmas songs. As it happens, Marks also collaborated with Carmen Lombardo and D.L. Hill to write one of my favorite songs, “Address Unknown.”  It was a big hit for the Ink Spots. You can hear their recording by clicking HERE.

JOHNNY MARKS

I don’t want to leave Johnny Marks without mentioning that he served with the U.S. Army during World War II — specifically, as a captain in the 26th Special Service Company — and he was awarded the Bronze Star and four battle stars.

Serving under General George Patton during the invasion of Normandy, Marks won the Bronze Star for leading 20 men in an attack on a castle and capturing the 100 Germans inside. 

WILLIAM HURT and MIA FARROW in "Alice"

I don’t know if it’s possible to not be in love with Mia Farrow, but watching the 1990 Woody Allen film Alice is not the way to avoid it.

MIA FARROW

In this wonderful fantasy, written and directed by Allen, Farrow plays Alice Tate, the wife of wealthy businessman Doug Tate (William Hurt). Alice lives in a world in which her biggest concern is how to fit all the pampering she receives into her busy schedule. She and Doug have children, and Alice seems genuinely attached to them, but the kids spend most of their time with a nanny while Mom is with the personal trainer or the hair dresser or with her equally spoiled and gossipy lady friends.

Her routine is disrupted at her childrens’ private school when she meets and is attracted to Joe (Joe Mantegna), the divorced father of one of the other children. Shy and at least nominally Catholic, Alice suppresses her interest in Joe at least for a while. Right around this time, her usual hypochondria becomes focused on a chronic pain in her back, which drives her to consult an herbalist in a crummy building in Chinatown.

KEYE LUKE

Dr. Yang, played in a marvelous performance by Keye Luke — his last role — understands immediately that there is nothing wrong with Alice’s back. He hypnotizes her and then introduces her to a series of herbs that have extraordinary effects on her, and eventually on Joe, including invisibility. Alice and Joe learn a great deal about themselves and about their spouses (ex-spouse, in Joe’s case). The result is a total change in both of their lives, although not in the way that might seem obvious.

Yang, who barks at any sign of self-indulgence in Alice and consistently refers to himself in the third person, is a unique and hilarious character.

As usual with Woody Allen, every character in this film is perfectly cast, including a brief turn by Bernadette Peters as a mystical “muse” who addresses Alice’s ambition to be a writer; Gwen Verdon as Alice’s memory of her mother; Blythe Danner as Alice’s somewhat estranged sister; and Alec Baldwin as the ghost of Alice’s first lover. Even the tiny role of an interior decorator is enhanced by Allen’s choice of Julie Kavner.

GWEN VERDON

As for Farrow, she is simply irresistible.

The film is outstanding for its photography and for the writing, which got Allen an Oscar nomination.

Alice was loosely based on Juliet of the Spirits, a 1965 Italian movie directed by Federico Fellini, the first feature-length film he shot in color.

MIA FARROW and KEYE LUKE in "Alice"

ALAN ALDA

I don’t think I’ve ever disliked Alan Alda in a role, his role in the 1988 film “A New Life” is no exception. But this film has the added advantage of having been written and directed by Alda, so it is shot through with his wit and his sense of timing.

In truth, “A New Life” is a piece of fluff, but the combination of Alda and his art with a cast that includes Hal Linden, Ann-Margret, and Veronica Hamel give the fluff enough substance to keep it interesting.

Alda plays Steve Giardino (who makes up these names?), a Wall Street trader whose gearshift is perpetually in overdrive. Among the things he neglects are his wife, Jackie, played by Ann-Margret. Jackie finally has enough — or, more accurately, not enough — and she and Steve split. Both are disoriented in the single state, and Steve is further confused by his stock-market colleague Mel Arons (Hal Linden), a profligate who tries to prod Steve into a similar way of life. Jackie eventually takes up with a much younger and overly attentive sculptor, Doc (John Shea), who is a waiter in real life. Steve settles in, or so it seems, with a medical doctor, Kay Hutton (Veronica Hamel). The truth in this movie is that stable relationships are not easy to come by, and both Steve and Jackie will have more work to do.

HAL LINDEN

This is a delightful ensemble, as the names of the actors promise. Linden is especially entertaining as a kind of Mephistopheles figure to the confused and somewhat naive Steve.  ”What are you making such a big deal about happiness for?” he asks Steve. “Look at me. I trade all day against guys who would cut my heart out of an eighth. I drink too much, I eat rich food, I make love to women half my age. You think I’m happy?”

(He grins) “That’s the advantage of being shallow.”

Fans of such Alda-esque dialogue will find it throughout this film.

Look for Alda’s daughter, Beatrice, in the limited role of Steve’s adult daughter, Judy.

Ann-Margret and Alan Alda on the set of "A New Life"

aka CHRISTOPHER COLUMBUS

One of my chores at Paolino’s Market when I was a kid was to open up fifty-pound bags of potatoes and divide the spuds into ten- and five-pound bags. “Packing potatoes,” as we called it, was a frequent part of the routine in our store, and that was appropriate in its way, because what could be more routine than a potato — one of the most plain, most simple, and least consequential of vegetables.

Or so I thought until I read 1493 by Charles C. Mann, author of 1491.

In this substantial and exhaustively researched volume, Mann describes the impact of the voyages of Christopher Columbus, whom he calls Cristóbal Colón, the name the explorer answered to in Spain. Overall, Mann explains, the impact of those voyages was to globalize life on earth, sending folks traveling to hemispheres they had perhaps only dreamed about and distributing other forms of life, ranging from mosquitoes to horses, from tobacco plants to rubber trees, to spots where they had never existed before — a phenomenon known as the Columbian Exchange.  Simultaneously, languages and cultural traditions and man-made products were scattered across the planet. So were doleful phenomena such as malaria and potato blight.

The process that Columbus launched, and personally participated on his first trips across the Atlantic Ocean and back, is so complex and far-reaching, as Mann describes it, that I can’t adequately summarize it here. But the potato is a good example of the upheaval Columbus touched off.

Little did I know last June, when I was watching my cousins hoeing potatoes in their massive garden in Il Valle di Sessa Cilento, that potatoes, which were first domesticated in the Andes, weren’t exported to Europe in quantity until the second half of the 16th century, when some species of them were being cultivated in the Canary Islands and shipped off to the mainland.

Irish mother and her children during the potato famine in 1849

The consequences of this, Mann writes, were enormous for a continent that was accustomed to frequent food shortages. In fact:

“Many scholars believe that the introduction of S. tuberosum to Europe was a key moment in history. This is because their widespread consumption largely coincided with the end of famine in northern Europe. (Maize, another American crop, played a similar but smaller role in southern Europe.) More than that, the celebrated historian William H. McNeill has argued, S. tuberosum led to empire: ‘[P]otatoes, by feeding rapidly growing populations, permitted a handful of European nations to assert dominion over most of the world between 1750 and 1950.’ Hunger’s end helped create the political stability that allowed European nations to take advantage of American silver. The potato fueled the rise of the West.”

There is much, much more just to the potato story, including the fact that a blight that also originated in the Andes migrated first to North America and then to Europe in the mid 19th century, causing almost incomprehensible hunger and illness, especially but not solely in Ireland.

Mann discusses the potato itself and its geographical history in minute detail, and he does the same with a broad range of subjects including slavery, the mixing of races in the “new world,” and the impact of world economies — most notably that of China — of the Spanish trade of silver from South America. His discussions frequently extend down to the present day, and this book in general is a valuable aid in understanding how the world evolved from the 15th century to the 21st.

WILLIAM HURT

“The biggest disease today,” Mother Teresa is supposed to have said, “is not leprosy or tuberculosis, but rather the feeling of being unwanted.” Mother Teresa may have been referring primarily to the kind of people she ministered to, people who are poor and disfranchised, but the problems he identified can affect people of all kinds. Three people who are suffering from the “disease” of feeling  cut off from any human community are the princpal characters in The Yellow Handkerchief , a 2008 film loosely based on a story by Pete Hamill.

These folks are Brett Hanson (William Hurt), who has just been released after a six-year term in prison; Martine (Kristen Stewart), a 15-year-old girl who has wandered away from her inattentive, single father and her friendless life; and Gordy (Eddie Redmayne), a Native American teenager who is  on an aimless odyssey. Martine hitches a ride with Gordy after being rejected by a boy who had taken advantage of her, and Brett, who meets the pair chance, joins them on the first leg of his trip back to New Orleans to find his former wife, May (Maria Bello). May, a beautiful but solitary woman bound to the waterways of New Orleans, had married Brett after overcoming what might have been more sensible instincts, and he divorced her as a way of freeing her after the incident that landed him in prison.

EDDIE REDMAYNE

This was an odd trio in that Gordy was attracted to Martine, who regarded him as eccentric and immature, and Brett — although he was protective of the teenagers — considered them only as a means to an end, namely returning to New Orleans to find out if May would accept him after the callous way he had left her. As they continue to travel together, however, the three gain more and more insight into each other’s psyches and problems and find that in their isolation and their desire to be “a part of something” they are more alike than they had imagined.

 This film was shot against the background of post-Katrina Louisiana. Besides being visually interesting, the grim landscapes and the devastation provide metaphors for loneliness on the one hand and a longing for rebirth on the other.

In spite of Hurt’s persona, this is a true ensemble piece in which he, Stewart, Redmayne, and Bello give credible and sympathetic performances.

WILLIAM HURT and KRISTEN STEWART

I grew up among the remnants of war. I was born in September 1942 when the United States had been engaging Nazi Germany and Japan for less than a year. By the time I was old enough to be aware of my surroundings, there still were handwritten letters from the front, brass uniform buttons, photos of soldiers, sailors, and marines, patriotic records, and newspaper clippings reporting on the service of relatives and friends, including cousin Mike Aun, who was awarded the Bronze Star twice, the Silver Star, and the Purple Heart with three oak-leaf clusters.

FRANKLIN D. ROOSEVELT

I also recall that for a long time after 1945, my parents and other adults would frame their conversations in terms of what had occurred before, during, and after “the war.” They needn’t say which war.

So although I don’t remember the war itself, I feel that it was a part of my life, and I eagerly learn as much about it as I can. My most recent opportunity came in the form of Pearl Harbor Christmas, a new book by Stanley Weintraub.

In this compact book, Weintraub describes events at home and abroad from December 22, 1941, to January 1, 1942 — devoting a chapter to each day. The dominant personalities by far are Franklin Roosevelt and Winston Churchill. Churchill was staying at the White House after crossing the submarine-infested Atlantic in winter seas. He couldn’t wait to get to Washington, because Pearl Harbor had accomplished what he could not, forcing the United States into a war that Britain probably could not survive otherwise. But, although the newborn American belligerence was directed mostly at Japan, Churchill wanted to make sure, and did, that the U.S. would go to war first against Nazi Germany.

WINSTON CHURCHILL

Churchill addressed a joint session of Congress, spoke at the Christmas tree-lighting ceremony on the White House lawn — the only time he and Roosevelt spoke from the same platform — and dashed up to Ottawa to speak before the Canadian Parliament. What with his blustering, his cigar-smoking, and his drinking, he was quite the counterpoint to patrician, dignified Roosevelt. Actually, he came across more like Lyndon Johnson: Weintraub describes an incident on December 26 when Churchill was dictating to a male secretary notes for the address to Congress. Churchill was in his bath when he started dictating. He got out, wrapped a towel around himself, walked to an adjoining bedroom, dropped the towel, and continued dictating, stark naked. Suddenly, the secretary recalled, “President Roosevelt [in his wheelchair] entered the bedroom and saw the British Prime Minister completely naked walking around the room dictating to me. WSC never being lost for words said, ‘You see, Mr. President, I have nothing to conceal from you.”’

While Roosevelt and Churchill and others were in Washington working issues of joint command, Adolf Hitler was in Berlin or Bavaria trying to chew the great deal he had bitten off.

ADOLF HITLER

Hitler’s troops were in trouble on the Russian front, and even those closer to home were suffering from a lack of adequate supplies. Hitler actually had Joseph Goebbels run a clothing drive  to help keep his soldiers warm. In a radio address, Goebbels told the German people that they “would not deserve a moment’s peace if a single German soldier was exposed to the harshness of winter without articles of warm clothing.”

Meanwhile, the situation in the Pacific continued to deteriorate as the Japanese took advantage of their momentum and munched away at the region. Churchill had not yet publicly acknowledged the reality, Weintraub writes, and continued to waste resources trying  to defend ground that was already as good as lost.

Even more closely involved in such a charade was U.S. Army Gen. Douglas MacArthur, who had to abandon his headquarters and retreat with his wife and son to a tunnel in Corregidor while he continued to send out dispatches about tank battles, with nonexistent tanks, putting up a fight that wasn’t occurring.

DOUGLAS MACARTHUR

Weintraub explains that there was a certain ambivalence about the war in the United States at first; it still seemed far away.

Still, the government took the impending conflict seriously enough to pack up the founding documents — the Declaration of Independence, the Constitution, and the Bill of Rights — and ship them off under heavy security to repose in Fort Knox for the duration.

The holidays went on as usual. Despite security concerns, Roosevelt insisted that the national tree be on the White House lawn, not in Lafayette Park where the Secret Service wanted it. There were presents, too, including eight thousand cigars sent to Churchill from various sources.

The new year was marked by a couple of oddities – Churchill making a rare visit to a church, attending a service with Roosevelt in Alexandria, Va., and the beleaguered Hitler publicly invoking “the Lord” in hoping that 1942 would bring positive results for the German people.

Throughout the United States, however, the prospects of what would come in the next three and half years did not weigh heavily on the celebratory spirit, and that, Weintraub writes, included the biggest celebration of all:

“ ‘If there was uneasiness over the possibility of Axis bombs falling into Times Square,’ the Times reported, ‘you could not read it in the celebrants’ faces.’ Despite Pearl Harbor and the reality of world war, it had not yet reached very far into the American psyche.’’