Five Came Back: A Story of Hollywood and the Second World War

by Mark Harris

Overview

Now a Netflix original documentary series, also written by Mark Harris: the extraordinary wartime experience of five of Hollywood's most important directors, all of whom put their stamp on World War II and were changed by it forever 

Here is the remarkable, untold story of how five major Hollywood directors—John Ford, George Stevens, John Huston, William Wyler, and Frank Capra—changed World War II, and how, in turn, the war changed them. In a move unheard of at the time, the U.S. government farmed out its war propaganda effort to Hollywood, allowing these directors the freedom to film in combat zones as never before. They were on the scene at almost every major moment of America’s war, shaping the public’s collective consciousness of what we’ve now come to call the good fight. The product of five years of scrupulous archival research, Five Came Back provides a revelatory new understanding of Hollywood’s role in the war through the life and work of these five men who chose to go, and who came back.


“Five Came Back . . . is one of the great works of film history of the decade.” —Slate

“A tough-minded, information-packed and irresistibly readable work of movie-minded cultural criticism. Like the best World War II films, it highlights marquee names in a familiar plot to explore some serious issues: the human cost of military service, the hypnotic power of cinema and the tension between artistic integrity and the exigencies of war.” —The New York Times

Product Details

ISBN-13:	9780143126836
Publisher:	Penguin Publishing Group
Publication date:	02/24/2015
Pages:	528
Sales rank:	213,087
Product dimensions:	5.40(w) x 8.40(h) x 1.40(d)
Age Range:	18 Years

About the Author

Mark Harris is the author of Pictures at a Revolution: Five Movies and the Birth of the New Hollywood, which was a New York Times notable book of the year and was named one of the ten best nonfiction books of the decade by Salon. An editor at large at Entertainment Weekly, a columnist for Grantland, and a contributing editor at New York Magazine, he has written about pop culture and film history for many other publications, including The New York Times, The Washington Post, Time, and GQ. A graduate of Yale University, Harris lives in New York City with his husband, Tony Kushner.

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Table of Contents

Prologue: Pearl Harbor 1

Part 1

1 "The Only Way I Could Survive" 15

Hollywood, March 1938-April 1939

2 "The Dictates of My Heart and Blood" 31

Hollywood and Washington, April 1939-May 1940

3 "You Must Not Realize that There Is a War Going On" 58

Hollywood, June-September 1940

4 "What's the Good of a Message?" 69

Hollywood, Early 1941

5 "The Most Dangerous Fifth Column in Our Country" 83

Hollywood and Washington, July-December 1941

Part 2

6 "Do I Have to Wait for Orders?" 101

Hollywood, Washington, and Hawaii, December 1941-April 1942

7 "I've Only Got One German" 117

Hollywood, December 1941-April 1942

8 "It's Going to Be a Problem and a Battle" 130

Washington, March-June 1942

9 "All I Know Is That I'm Not Courageous" 145

Midway and Washington, June-August 1942

10 "Can You Use Me?" 172

Washington and Hollywood, August-September 1942

11 "A Good Partner to Have in Times of Trouble" 172

England, North Africa, and Hollywood, September 1942-January 1943

12 "You Might as Well Run into It as Away from It" 186

The Aleutian Islands, Hollywood, Washington, and North Africa, September 1942-May 1943

13 "Just Enough to Make It Seem Less Than Real" 199

England, Hollywood, and Washington, January-May 1943

14 "Coming Along with Us Just for Pictures?" 213

Washington, England, and New York, March-July 1943

Part 3

15 "How to Live in the Army" 231

North Africa, Hollywood, Florida, and Washington, Summer 1943

16 "I'm the Wrong Man for That Stuff" 244

Washington Hollywood, And England, June-December 1943

17 "I Have to Do a Good Job" 257

England and Italy, October 1943-January 1944

18 "We Really Don't Know What Goes On Beneath the Surface" 271

Washington, the China-Burma-India Theater, Italy, and New York September 1943-March 1944

19 "If You Believe This, We Thank You" 286

Hollywood and England, March-May 1944

20 "A Sporadic Raid of Sorts on the Continent" 299

Hollywood, Washington, and New York, March-May 1944

21 "If You See It, Shoot It" 310

France, June-July 1944

22 "If Hitler Can Hold Out, So Can I" 324

Hollywood and Washington, July-December 1944

23 "Time and Us Marches On" 338

France, Belgium, Luxembourg, Germany, and England, July 1944-January 1945

24 "Who You Working For-Yourself?" 352

Hollywood, Florida, Italy, and New York, February-May 1945

25 "Where I Learned About Life" 366

Germany, March-August 1945

26 "What's This Picture For?" 378

Washington and Hollywood, Summer 1945

27 "An Angry Past Commingled with the Future in a Storm" 391

Hollywood, New York and Germany, 1945

28 "A Straight Face and a Painfully Maturing Mind" 405

Hollywood, New York, and Washington, December 1945-March 1946

29 "Closer to What Is Going On in the World" 419

Hollywood, May 1946-February 1947

Epilogue 439

Note on Sources and Acknowledgments 445

Notes 449

Bibliography 489

Credits 495

Index 497

What People are Saying About This

From the Publisher

The Wall Street Journal:
“Mr. Harris has a huge story to tell, and he does so brilliantly, maintaining suspense in a narrative whose basic outcome will be known ahead of time. Five Came Back is packed with true stories that, according to the proverb, are stranger than fiction. Mr. Harris's story of five particular directors at one particular moment of history tells us much about the motion-picture industry, about the nature of filmmaking and, more generally, about the relation of art to the larger demands of society. Although Five Came Back at first seems to be chronicling a collective enterprise, it turns out to be an inspirational, if cautionary, tale of the triumph of the individual over the collective, of personal vision over groupthink, and ultimately of art over propaganda.”

The New York Times:
“A tough-minded, information-packed and irresistibly readable work of movie-minded cultural criticism. Like the best World War II films, it highlights marquee names in a familiar plot to explore some serious issues: the human cost of military service, the hypnotic power of cinema and the tension between artistic integrity and the exigencies of war.”

Leonard Maltin:
“In addition to being a prodigious researcher and a knowledgeable film buff, Harris is a graceful writer whose prose brings the world of wartime, at home and abroad, to vivid life on every page. I tore through this hefty book as if it were a novel and can’t recommend it highly enough.”

The Washington Post:
“Five Came Back, by Mark Harris, has all the elements of a good movie: fascinating characters, challenges, conflicts and intense action. This is Harris’s second brilliant book about movies. Both books demonstrate meticulous research and exceptional skill at telling intersecting and overlapping stories with clarity and power. Five Came Back enables us to watch the films of Ford, Capra, Wyler, Huston and Stevens with new insight.”

The New Yorker:
“A splendidly written narrative.”

San Francisco Chronicle:
“Can't-put-it-down history of World War II propaganda film.”

The Los Angeles Times:
“Meticulously researched, page-turning.”

David Thompson, The New Republic:
“I recommend this book for its narrative sweep, its revelation of character, and for the many ironies that attend the idea of ‘documentary.’”

Cleveland Plain Dealer:
“Mark Harris writes the old-fashioned way. His books are not quick and slick but meticulous. Definitive.  In these lush, informative pages, Harris indeed reaffirms his commitment to writing the old-fashioned way, the way that evinces profound respect for his craft, his material and his readers.”

Booklist (starred):
“It’s hardly news that the movies affect and are affected by the broader canvas of popular culture and world history, but Harris—perhaps more successfully than any other writer, past or present—manages to find in that symbiotic relationship the stuff of great stories. Every chapter contains small, priceless nuggets of movie history, and nearly every page offers an example of Harris’ ability to capture the essence of a person or an event in a few, perfectly chosen words. Narrative nonfiction that is as gloriously readable as it is unfailingly informative.”

Kirkus Reviews:
“A comprehensive, clear-eyed look at the careers of five legendary directors who put their Hollywood lives on freeze-frame while they went off to fight in the only ways they knew how. As riveting and revealing as a film by an Oscar winner.”

Publishers Weekly:
“Insightful. Harris pens superb exegeses of the ideological currents coursing through this most political of cinematic eras, and in the arcs of his vividly drawn protagonists…we see Hollywood abandoning sentimental make-believe to confront the starkest realities.”

Library Journal:
“Harris surpasses previous scholarship on the directors who are the focus here… This well-researched book is essential for both film enthusiasts and World War II aficionados.”

Editorial Reviews

Mr. Harris has a huge story to tell, and he does so brilliantly, maintaining suspense in a narrative whose basic outcome will be known ahead of time. Five Came Back is packed with true stories that, according to the proverb, are stranger than fiction. Mr. Harris's story of five particular directors at one particular moment of history tells us much about the motion-picture industry, about the nature of filmmaking and, more generally, about the relation of art to the larger demands of society . . . [A]n inspirational, if cautionary, tale of the triumph of the individual over the collective, of personal vision over groupthink, and ultimately of art over propaganda.” —The Wall Street Journal

“Five Came Back . . . is one of the great works of film history of the decade.” —Slate

“A tough-minded, information-packed and irresistibly readable work of movie-minded cultural criticism. Like the best World War II films, it highlights marquee names in a familiar plot to explore some serious issues: the human cost of military service, the hypnotic power of cinema and the tension between artistic integrity and the exigencies of war.” —The New York Times

“Five Came Back, by Mark Harris, has all the elements of a good movie: fascinating characters, challenges, conflicts and intense action. This is Harris’s second brilliant book about movies. Both books demonstrate meticulous research and exceptional skill at telling intersecting and overlapping stories with clarity and power.” —The Washington Post

“A splendidly written narrative.” —The New Yorker

“Can't-put-it-down history of World War II propaganda film.” —San Francisco Chronicle

“Meticulously researched, page-turning.” —The Los Angeles Times

“Definitive. In these lush, informative pages, Harris indeed reaffirms his commitment to writing the old-fashioned way, the way that evinces profound respect for his craft, his material and his readers.” —Cleveland Plain Dealer

“It’s hardly news that the movies affect and are affected by the broader canvas of popular culture and world history, but Harris—perhaps more successfully than any other writer, past or present—manages to find in that symbiotic relationship the stuff of great stories. Every chapter contains small, priceless nuggets of movie history, and nearly every page offers an example of Harris’ ability to capture the essence of a person or an event in a few, perfectly chosen words. Narrative nonfiction that is as gloriously readable as it is unfailingly informative.” —Booklist (starred)

“A comprehensive, clear-eyed look at the careers of five legendary directors who put their Hollywood lives on freeze-frame while they went off to fight in the only ways they knew how. As riveting and revealing as a film by an Oscar winner.” —Kirkus Reviews

“Insightful. Harris pens superb exegeses of the ideological currents coursing through this most political of cinematic eras, and in the arcs of his vividly drawn protagonists…we see Hollywood abandoning sentimental make-believe to confront the starkest realities.” —Publishers Weekly

“Harris surpasses previous scholarship on the directors who are the focus here… This well-researched book is essential for both film enthusiasts and World War II aficionados.” —Library Journal

From the Publisher

…[a] must-read for movie buffs and World War II aficionados alike…

The New York Times Book Review - Andrew O'Hehir

Five Came Back…is a tough-minded, information-packed and irresistibly readable work of movie-minded cultural criticism. Like the best World War II films, it highlights marquee names in a familiar plot to explore some serious issues: the human cost of military service, the hypnotic power of cinema and the tension between artistic integrity and the exigencies of war. Mr. Harris shows how—more than Technicolor, CinemaScope or even the collapse of the Production Code—World War II changed the way Americans looked at the movies.

The New York Times - Thomas Doherty

01/13/2014
American filmmakers undergo their baptism of fire in this insightful if sometimes chaotic war saga. Journalist Harris (Pictures at a Revolution) profiles five leading directors—John Ford, Frank Capra, William Wyler, John Huston, and George Stevens—who ditched stellar careers to join the military and craft propaganda, battle documentaries and training films. (Ford’s first Navy assignment was an explicit primer on venereal disease.) Harris’s story is often simply Hollywood on steroids: generals and political strictures replace studio moguls and the Hays code; location hardships include getting shot at; the blurring together of authenticity and fakery deepens (some of the most acclaimed and innovative combat “documentaries” were staged reenactments). The fog of war sometimes obscures the big picture here; even more than civilian making-of epics, the author’s narrative of military movie production is a welter of confusion and misfires, turf struggles, budget constraints, and grand artistic impulses thwarted by philistine bureaucracies and petty happenstance. Still, Harris pens superb exegeses of the ideological currents coursing through this most political of cinematic eras, and in the arcs of his vividly drawn protagonists—especially Stevens, whose camera took in the liberation of Paris and the horror of Dachau—we see Hollywood abandoning sentimental make-believe to confront the starkest realities. (Mar. 3)

Publishers Weekly

★ 03/01/2014
Harris (Pictures at a Revolution: Five Movies and the Birth of the New Hollywood) surpasses previous scholarship on the directors who are the focus here: Frank Capra, John Ford, John Huston, George Stevens, and William Wyler. These Academy Award-winning directors were at the top of their careers when they volunteered for military duty in World War II. Several joined the Signal Corps and the Field Photo Unit; Wyler documented flying missions of the Memphis Belle. This is also a well-documented analysis of how Hollywood moguls (the majority being Jewish) and film celebrities became divided on the issue of prewar U.S. isolationism vs. interventionism. Accusations were thrown at Hollywood for either being in collusion with the Roosevelt administration or being anti-American and communist sympathizers. These directors were responsible for creating effective propaganda and training films for new recruits, as well as documenting the realities of a devastating war. Their work took them everywhere from the Aleutian Islands to the South Pacific. After the war, they brought their experiences back home, each being affected both personally and professionally. While Wyler and Huston found new pride in Hollywood and the country they loved so much, Stevens became painfully withdrawn from the world after having filmed the horrors of Dachau in preparing evidence for the Nuremberg trials. VERDICT This well-researched book is essential for both film enthusiasts and World War II aficionados. [See Prepub Alert, 9/1/13.]All five directors are featured in individual titles as part of the University of Mississippi's "Conversations with Filmmakers: Interviews" series. Other books to consider: Thomas Doherty's Projections of War: Hollywood, American Culture, and World War II ([Film & Culture] Columbia Univ. 1993); Clayton Koppes & Gregory D. Black's Hollywood Goes to War: How Politics, Profits, and Propaganda Shaped World War II Movies (Free Pr. 1987); Frank Capra's The Name Above the Title: An Autobiography (Macmillan. 1971; Da Capo. 1997); Joseph McBride's Searching for John Ford (Univ. of Mississippi. 2011); John Huston's An Open Book (Da Capo, 1994); Marilyn Ann Moss's Giant: George Stevens, a Life on Film (Univ. of Wisconsin. 2004); Gabriel Miller's William Wyler: The Life and Films of Hollywood's Most Celebrated Director ([Screen Classics] Univ. of Kentucky. 2013); Jan Herman's A Talent for Trouble: The Life of Hollywood's Most Acclaimed Director: William Wyler (Putnam. 1996).—Richard Dickey, Washington DC

Library Journal

★ 2013-12-14
Entertainment Weekly writer Harris (Pictures at a Revolution: Five Movies and the Birth of the New Hollywood, 2008) returns with a comprehensive, cleareyed look at the careers of five legendary directors who put their Hollywood lives on freeze-frame while they went off to fight in the only ways they knew how. "As long as they lived," writes the author, "the war lived with them." Arranged chronologically (beginning in 1938), the text generally includes the doings of each of the five (John Ford, George Stevens, John Huston, William Wyler and Frank Capra) in each of the chapters, with Harris artfully intercutting events from his principals' private as well as professional lives. The author also keeps us up to date on Hollywood without his five, showing us the stars who were winning Oscars, how the five felt about the winners (sometimes themselves) and how Hollywood sought to profit from the war. Harris segues seamlessly to scenes all over the world--the Aleutians, England, France, Germany, Italy, the South Pacific and other venues important in the war and in his story. We learn along the way of the involvement in various cinema projects by other considerable talents--e.g., Lillian Hellman, cinematographer Gregg Toland, Theodor Geisl, Mel Blanc and animator Chuck Jones. Some of the five worked together (Capra and Stevens), but others worked separately on feature-length documentaries, short subjects and films for military use only. Among the more enduring productions were The Memphis Belle: The Story of a Flying Fortress (Wyler, 1944) and the powerful, wrenching footage shot in 1945 at the liberation of Dachau by George Stevens' crew. Stevens was devastated by what he saw and later shot The Diary of Anne Frank (1959). Harris also chronicles the politics, personality clashes (military vs. Hollywood), egos, drinking, carousing and sexual exploits. As riveting and revealing as a film by an Oscar winner.

Kirkus Reviews

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