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** One scene features a young Japanese or Japanese-American (a substantial portion of Hawaii's population included immigrants from Japan) messenger delivering General Marshall's telegram to Fort Shafter. The Sergeant signing for the message shares [[FacialDialogue a long look]] with the obviously terrified boy, who is part of a population who are in for a very ugly time by US authorities considering them all a security threat because of their race/nationality.
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** One scene features a young Japanese or Japanese-American (a substantial portion of Hawaii's population included immigrants from Japan) messenger delivering General Marshall's telegram to Fort Shafter. The Sergeant signing for the message shares [[FacialDialogue a long look]] with the obviously terrified boy, who is part of a population who are in for a very ugly time by US authorities considering them all a security threat because of their race/nationality.[[note]]Albeit that that messenger would've actually been relatively ''lucky'' to live in Hawaii rather than the mainland United States, as Japanese-Americans on the mainland were rounded up and sent to internment camps, whereas those in Hawaii mostly weren't, as they made up such a large proportion of the territory's population that interning them all would've made its economy grind to a halt.[[/note]]
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fixing indentations
* StoicWoobie: Admiral Kimmell. Once the attack is in full swing, a machine gun bullet breaks the window he is standing in front of and strikes him in the chest. The round is spent, not having enough energy to even penetrate his uniform. He feels it would have been a mercy if he had been struck dead on the spot. Both the incident and Kimmell's dialogue musing on this are TruthInTelevision.
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** StoicWoobie: Admiral Kimmell. Once the attack is in full swing, a machine gun bullet breaks the window he is standing in front of and strikes him in the chest. The round is spent, not having enough energy to even penetrate his uniform. He feels it would have been a mercy if he had been struck dead on the spot. Both the incident and Kimmell's dialogue musing on this are TruthInTelevision.
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Changed line(s) 13 (click to see context) from:
** One scene features a young Japanese or Japanese-American (a substantial portion of Hawaii's population included immigrants from Japan) messenger delivering General Marshall's telegram to Fort Shafter. The Sergeant signing for the message shares [[FacialDialogue a long look]] with the obviously terrified boy, who is part of a population who are in for a very ugly time by US authorities considering them all a security threat because their race/nationality.
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** One scene features a young Japanese or Japanese-American (a substantial portion of Hawaii's population included immigrants from Japan) messenger delivering General Marshall's telegram to Fort Shafter. The Sergeant signing for the message shares [[FacialDialogue a long look]] with the obviously terrified boy, who is part of a population who are in for a very ugly time by US authorities considering them all a security threat because of their race/nationality.
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* NightmareFuel: The American pilots trying desperately to get up in the air while their base is under attack. Most of the planes are blown to pieces before they make can begin their takeoff roll. One plane is sent skidding sideways along the pavement, making a nightmarish screeching noise as the fighter bursts into flames.
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* NightmareFuel: The American pilots trying desperately to get up in the air while their base is under attack. Most of the planes are blown to pieces before they make can begin their takeoff roll. One plane is sent skidding sideways along the pavement, making a nightmarish screeching noise as the fighter bursts into flames.
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** Cordell Hull, who is deeply upset over the attack and the fact that he didn't get the Japanese government's attack (a letter full of fabrications) until ''after'' the Japanese threw the first punch.
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** One scene features a young Japanese or Japanese-American (a substantial portion of Hawaii's population included immigrants from Japan) messenger delivering General Marshall's telegram to Fort Shafter. The Sergeant signing for the message shares [[FacialDialogue a long look]] with the obviously terrified boy, who is part of a population who are in for a very ugly time.
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** One scene features a young Japanese or Japanese-American (a substantial portion of Hawaii's population included immigrants from Japan) messenger delivering General Marshall's telegram to Fort Shafter. The Sergeant signing for the message shares [[FacialDialogue a long look]] with the obviously terrified boy, who is part of a population who are in for a very ugly time.time by US authorities considering them all a security threat because their race/nationality.
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** The conductor speeds up the anthem upon realizing that the base is under attack.
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** The conductor speeds up the anthem upon realizing that the base is under attack.[[note]]This is TruthInTelevision, as when a military band plays the national anthem, they do not stop playing under any circumstances until it is finished. The poor band was trying to get it over with so they could duck for cover.[[/note]]
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** [[NotMakingThisUpDisclaimer Both of the above]] [[ShownTheirWork happened in the real battle.]]
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* VindicatedByCable / VindicatedByHistory: It was a box-office flop in the U.S. and for the most part, critics didn't like it (Roger Ebert awarded it only ''one star''). But it did pretty well in Japan (eventually breaking even), the expensive special effects shots were convincing enough to be re-used for over a decade (Toshio Masuda even reused most of the Pearl Harbor attack in his 1982 war epic ''The Imperial Japanese Empire'') , and if you need historical accuracy more than you need character-driven drama in a film, this is a good go-to. After the 2001 film, ''Film/PearlHarbor'', proved a boring and badly researched flop, the reputation of this film as the best dramatization of the attack grew still more.
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* VindicatedByCable / VindicatedByHistory: It was a box-office flop in the U.S. and for the most part, critics didn't like it (Roger Ebert (Creator/RogerEbert awarded it only ''one star''). But it did pretty well in Japan (eventually breaking even), the expensive special effects shots were convincing enough to be re-used for over a decade (Toshio Masuda even reused most of the Pearl Harbor attack in his 1982 war epic ''The Imperial Japanese Empire'') , and if you need historical accuracy more than you need character-driven drama in a film, this is a good go-to. After the 2001 film, ''Film/PearlHarbor'', proved a boring and badly researched flop, the reputation of this film as the best dramatization of the attack grew still more.
