Monday, January 28, 2013

The Fog of Peace

Remember the Gilligan's Island episode where Vito Scotti played a Japanese sailor who didn't know World War II had ended? Well, a few years after Gilligan went off the air, something like that happened in real life, though the poor, deluded fellow was an infantryman, not a sailor, and wasn't discovered on an uncharted island with only seven people, but a United States territory with a then-population of 85,000.

Shoichi Yokoi was a sergeant in the Imperial Japanese Army when the US military recaptured the island of Guam in August of 1944. But they didn't recapture Yokoi. He and about 10 other soldiers went into hiding in the jungle. Seven of those ten moved out of the area, and were either captured or died of starvation. The three others kept in touch with each other, until the two of them died in a flood in 1964 (the same year Tokyo hosted the Olympics), leaving Yokoi all by himself, and, according to one version of the story, still convinced the war was going on. Any leaflets Yokoi found that said otherwise, he dismissed as propaganda. For 28 years, Yokoi lived in his underground cave, surviving on a diet of fruits, nuts, fish, shrimp, frogs, rats, and snails. A tailor before the war, he made in his own clothes out of bark. I'm not sure where he got the needles.

Finally, in January 1972, a couple of local guys checking shrimp traps along a small river not far from the cave were attacked by Yokoi, who must have thought they were enemy spies or something. It was two against one, a middle-aged malnourished one at that, and Yokoi was quickly subdued. He was then forced by gunpoint out of the jungle and to a local police station, where he told his story. Now the desk sergeant had heard everything.

No charges were filed, and a few weeks later Yokoi returned to Japan in a chartered jet. Thousands greeted him at the airport, and he did the rounds of TV talk shows, presumably after someone  explained to him what a TV was in the first place. Some of the younger Japanese viewers with no memory of World War II found him a bit odd, though, especially when he said things like:

''I continued to live for the sake of the Emperor and believing in the Emperor and the Japanese spirit,''

There still was an emperor in Japan in 1972. In fact, the very same fellow who held the job in 1943: Hirohito. However, in Yokoi's long absence, Hirohito had gone from being regarded as a living god that his subjects bowed down to whenever he strode past them on his magnificent white stallion, to a constitutional monarch who often did typical head of state things like visit other countries' national institutions:

Once he got settled in, Yokoi visited his own country's national institution, the Imperial Palace--the grounds of the Palace, anyway--where he said, ''Your Majesties, I have returned home." He didn't actually say this to the majesties themselves, but rhetorically and to reporters following him around. The Emperor couldn't see him as he had other business to attend to that day.

Despite Hirohito's snub, Yokoi Shoichi remained a celebrity for the rest of his days, which lasted until 1997. Like celebrities everywhere, he had his own pet cause, in this case sustainable living, of which he had considerable experience:

''I can't understand why cities must burn garbage. My family [he got married six months after returning to Japan] does not produce garbage. We eat every last bite of food. Parts of food that are not edible are used as fertilizer in my garden.''

Once he got used to the idea of democracy, Yokai ran for office, but his proposal to turn Japan's golf courses into bean fields wasn't a vote-getter.

Amazingly, Shoichi Yokai wasn't the last Imperial soldier to come in from the wilderness. He was followed by two more in a space of only a couple of years.

Hiroo Onada was an Imperial Japanese Army intelligence officer sent to Lubang Island in the Philippines in 1944, which faced  possible invasion by the enemy (the USA.) Though suicidal behavior is one of the may stereotypes we Yanks have of the Japanese--swords to the gut and kamikaze attacks on battleships--Onado was given express orders not to take his own life. He was also ordered to evade capture. So, when the invasion happened as expected, and it didn't look like there was going to be any counter-attack anytime soon, Onado had no other choice but to head to the hills and take up the life of a guerrilla fighter, an occupation he held for 30 years, long after the fighting had stopped. He had three other men with him, everyone else having died or surrendered. As was the case with Shoichi Yokai, Onada refused to believe the flurry of leaflets dropped from above telling him the war was over and urging him to surrender.

Onada's exile from reality was much bloodier than Yokai's. He and his guerrillas killed some thirty Filipinos and had several shootouts with the cops. One of the guerrillas, tired of all the fighting and deciding all the leaflets might be genuine, sneaked off and surrendered. This increased the remaining three's paranoia, which led to more wild gunplay. A second guerrilla was killed in a shootout with the very search party that was looking for him and the others in 1954. Then there were two. And it remained that way until 1972--the same year Yokai was discovered alive--when police came upon the two of them burning a rice field as part of their guerrilla activity. Onada's companion was shot and killed, but he got away.

Finally, in 1974, a Japanese college dropout backpacking his way across the Phillipines came upon Onada. The two talked a bit, and had their picture taken together. I'm not sure who took it. Maybe it was one of those automatic cameras. Anyway, the dropout returned to Japan and informed the authorities Onada was still alive, and that he refused to give up until ordered so by a superior.

The Japanese government located Onada's former commanding officer, now a bookseller, and flew him to Lubang, where he personally relieved him of duty. Now convinced (and a bit disappointed) that the war was indeed over, he turned over his remaining weapons--his sword, dagger, Ariska Type 99 rifle, 500 rounds of ammunition, and several hand grenades--to the authorities. Philippine President Ferdinand Marcos pardoned him of all crimes due to mitigating circumstances, such as an inability to recognize peace when he saw it.

Hiroo Onada returned to Japan an even bigger celebrity than Shoichi Yokai, something he had mixed feelings about. After reading about a teenager who had killed his parents, Onada took up juvenile delinquency as his pet cause, establishing educational camps for young people around the country. Now 91, Onanda spends several months of the year in Brazil, and is a celebrity there as well. So all you readers out there who yearn to be famous, that's one way of doing it. Just lose a war and hide out for decades.

The latest and most likely final Japanese soldier to be discovered years after WWII ended wasn't even Japanese! Teruo Nakamura (Attun Palalin in his native tongue) was from Taiwanese when that island was still a colony of Japan. Conscripted into the Imperial Army, he was sent to the Indonesia island of Morotai, just in time to see that place overrun by the Allies in 1944. Like Yokai and Onada before him, he fled to the jungle. He mixed with other stragglers for awhile, but in the mid-1950s lit out on his own. He built his own hut, where he lived peacefully until 1974, when someone flying over his modest home spotted it. Nakamura was soon arrested by Indonesian soldiers, though that just may have been to get him out of the hut. Having forgotten what little Japanese he knew, Nakamura asked and received permission to expatriated right back to Taiwan, which in his absence had become mostly Chinese (which he couldn't speak, either.) While his capture/discovery made the generated a lot of media attention, Nakamura was never really a celebrity, certainly not among the Japanese, who didn't want to be reminded of their stint as a colonial power. Nakurama died of lung cancer in 1979 (did he manage to take a lot of cigarettes into the jungle with him?)

We've probably seen the last of Imperial Army holdouts. The world's much more developed now, and the jungles have shrunk. Plus, the mortality rate has risen for all WWII-era combatants, whether they're living in caves or Old Soldiers Homes.

Others who have written about these three have emphasized their courage, perseverance, and resourcefulness. All sterling qualities, true. But such sterling qualities came to the fore in total ignorance of what was going on around them. When Shoichi Yokai returned to Japan, he said,
"It is with much embarrassment, but I have returned".

It doesn't necessarily mean what you think. He could have been embarrassed about being caught. In researching this piece, I read several, sometimes contradictory, versions of his story. In one of those, Yokai actually did know of Japan's surrender, but stayed in hiding anyway, assuming that his subjugated homeland now would serve as a steady supplier of slave labor to the United States. Sitting in his cave munching on rats and snails, how was he to know that in ignominious defeat, his average countryman would soon have a much higher standard of living than they ever did before the war, that a building boom would transform bombed-out Tokyo into a modern metropolis of gleaming skyscrapers, that his homeland successfully would host both an Olympics and world's fair (Expo '70), and that Japan would undergo another kind of global expansion, this time not with guns, planes, ships, and tanks, but with names such as Sony, Toyota, Panasonic, and Mitsubishi? Once Yokai found out about all that, well, maybe he did feel a bit embarrassed.


As for Hiroo Onada, in his autobiography he minces no words: "A storm raged inside me. I felt like a
fool...what had I been doing for all these years?"
On reflection, maybe Yokai and Onada are being a bit too hard on themselves. Theirs may be an extreme case, but how many of us marry the wrong person, take the wrong job, major in the wrong subject, break the wrong rule, sign on the wrong dotted line, make the wrong purchase, hang around  the wrong people, run away from home when we should have stayed put, stayed put when we should have run away from home, lashed out when we should have held out tongue, held our tongue when we should have lashed out, partied when we should have studied, studied when we should have partied, followed our brain instead of our heart, followed our heart instead of our brain, jumped into bed instead of take a cold shower, took a cold shower instead of jumped into bed, rocked the boat when we should have left well enough alone, left well enough alone when we should have rocked the boat, ate until we got fat, smoked until we got sick, popped pills until we got addicted, drank until we got fat, sick, and addicted; so that at the end of a wasted day, wasted year, wasted life, we ask ourselves:
 "What the hell was I thinking?"

Welcome to the jungle.




Sunday, January 20, 2013

Graphic Grandeur (Drawing Room Edition)

Picture postcard, 1915. Artist unknown.

"ISH KA BIBBLE" in the lower left hand corner, was the name of a popular nonsense song of 1913. Later, the name of a nonsense radio comedian of the 1930s and '40s. According to some research I did, it may be mock-Yiddish for "I should worry." Can't explain much more about anything else written here. I mean, worry like a gimlet? What kind of simile is that? What does a gimlet--which is name of both a tool, pictured here, and a cocktail--have to worry about? This actually put me on an etymological search of the word worry to see if perhaps it was an arcane carpentry term. It's not. Nor does it have anything to do with cocktails, though I can understand someone full of worry wanting to get plastered. According to my research, worry comes from the Old English word wyrgan, which in turn came from the Old German word worgen, meaning "to strangle". I'm no carpenter, but you don't strangle a piece of wood with a gimlet. At one time the word did mean "to lacerate", which in turn means "to cut". You DO cut a hole with a gimlet, so we might be getting somewhere. But why would someone then feel bored? A gimlet is a bore-er, not a bore-ee. And worry and boredom are not two emotions, or mind sets, I associate with each other. You can be so bored you fall to sleep (hence the woman yawning), but worry can keep you awake at night. Actually, I've found worrying about a word's etymology can keep you awake at night.

I get that it's suppose to be a pun, but wouldn't "I'm bored" be sufficient? If you're familiar with comic strips made before 1920, you know they're filled with all kinds of odd things, such as answers before questions, or captions that contradict word balloons. Though the above is a postcard and not a strip, I was tempted to just chalk it up as a "1915 thing." The folks back then got it and we don't. Except the fact that someone felt the need to actually draw a gimlet and a piece of wood tells me there was some doubt everyone would get the joke.

You didn't need the joke written out at all. Though the loopy Lothario and disinterested damsel was already a comic cliche in 1915, the artwork, to my eyes, makes it fresh and amusing. Look at that attractive (even with an oversized head) young woman yawn. She so much in the foreground it's as if she's sharing her tedium with us, letting us in that she's unimpressed with whatever the oblivious, aging would-be suitor is talking about.

And just what is he so eagerly yakking on about? The size of a fish he caught? His spanking brand-new Model T? A gall stone that was removed?

Perhaps he's a carpenter describing how he once worried a gimlet through a piece of wood.


Sunday, January 13, 2013

Viewing Victims

I started this post several weeks ago with a simple task in mind: to do right by actor Charles Durning, who died on Christmas Eve. This wasn't easy as I thought it would be, as I soon came to the realization that I wasn't really a fan of his work. Epiphanies like that sometimes come with the writing process. I looked at the list of his credits and saw The Sting. I've seen that film exactly twice in my life, the last time about a year and a half ago, but didn't remember him being in it. Did some research and, oh, yeah, right, he was that character. Tootsie? Yeah, now that you mention it. Dog Day Afternoon? Um, let me check again...OK. Evening Shade? Well, yeah, his name was mentioned in the opening credits...My amnesia has nothing to do with Durning's acting ability. He was good in everything I just mentioned. Maybe too good. Or just too honest. Unlike other well-known character actors, Durning wasn't a scene stealer. Had he had a more selfish attitude toward his craft, I might remember his roles better. I kept searching the credits until I came to a 1973 episode of All in the Family that had always intrigued me, and that I now wanted to write about. So the rest of this post really isn't about Charles Durning. I'm just using him as a jumping-off point. As one who was in supporting roles for most of his life, I'm sure he'd understand.

The episode is "Gloria the Victim", one of two during the show's history dealing with rape. Charles Durning does a fine job as a police detective investigating the attack, but its' series regulars Carrol O'Conner (Archie Bunker), Jean Stapleton (his wife Edith), Rob Reiner (son-in-law Mike) and especially...

 ...Sally Struthers (daughter Gloria) who really shine here.

If you were listening carefully, you might have heard a few references to foot long hot dogs. In a subplot, Archie agrees to buy some from the Jeffersons, the black family that lives next door. At one point, right in the middle of Detective Durning's mock interrogation, Henry Jefferson, unaware of the family crises going on, shows up to inform Archie that there will be a bit of a delay. Durning overhears this, and decides to buy a few himself. I wish the person who originally posted this to YouTube hadn't edited the subplot out. Sure, it's trivial compared to the tragedy unfolding. But in real life, tragedy and triviality unfold in tandem all the time.     

Situation comedies are often criticized for presenting a problem, or series of problems, that gets solved in under 30 minutes, then is never mentioned again. This doesn't happen here, but what so intrigues me about this episode is that in 1973 there was still so much fear and shame surrounding rape that both Archie and an anguished Mike want it to play out that way. Solve it quick and have some hot dogs. Unfortunately, they solve it by not solving it. And as seen in concluding close-up of a devastated Gloria, they can't even take care of their own. A remarkable episode

The subject of rape was revisited in 1977, this time with Edith as the intended victim. Unlike the first episode, which came and went without much notice, this was an hour-long special (two parts in syndication) that was heavily promoted, and shown in advance to hospitals and police stations around the country. Titled "Edith's 50th Birthday", it's the better known of the two rape shows. In my opinion, it's also the inferior of the two. Jean Stapleton turns in an excellent performance, but the writing lets her down. As with the first episode, there's a fair amount of comedy. Now, there's nothing inherently wrong with that. I strongly believe comedy can be more than mere escapism, and, if you tell your story honestly, humor can arise out of even as serious a subject as rape. But some of the comic bits here (Archie dropping a bat on Mike's foot, Gloria pulling hairs off Archie's chest) seem better suited to a Three Stooges short. However, it's a key dramatic moment toward the end that I find really disappointing. More about that later.

Here's the set-up: Archie is over at Mike and Gloria's next door (the former occupants having moved to a deluxe apartment in the sky) helping them get ready for his wife's surprise party. Edith, though, found out about it ahead of time and in fact at her house alone baking the cake. She hears a knock on the door, and lets in a young man with a badge claiming to be a police detective. He locks the door and attempts to rape Edith:

 Edith Bunker was a beloved television character by 1977. Some people found the above scene so disturbing, they sent death threats to actor David Dukes, who played the rapist.

After she gets away, Edith runs to her daughter and son-in-law's house, where Archie attempts to calm her down and find out exactly what went wrong:

Traumatized by the whole ordeal, Edith refuses to leave the house, runs upstairs whenever she hears someone at the door, and becomes obsessed with washing and ironing clothes:

I'm sorry, but I don't buy that ending.

It's not that Edith shouldn't go down to the police station and identify her attacker. Of course she should. It's the right thing to do. But people don't always do the right thing. You can have a character in a movie or TV show exhibit exemplary behavior, audiences can applaud that exemplary behavior, but then walk right out of the theater or away from the set, and do exactly the opposite. What's accomplished exactly, other than living vicariously through a make-believe paragon? Gloria, with the advice and consent of her father and husband, does the wrong thing in the first rape show, but we get to see the reasons why she does the wrong thing, the environment she's operating under, what she's up against. We can learn from that and try to change that environment, to make it easier on victims of rape. Make it easier to do the right thing.

To be fair, the second show did do a good job of showing the psychological toll from such an attack. That was, in the sense, the moral of the story. But they wanted an additional moral. Women should report their attackers. Unfortunately, if they're traumatized, as is clearly the case with Edith, they're less likely to do so. How to reconcile these two morals in less than a minute and a half? By resorting to that hoariest of dramatic devices: the slap-epiphany. Or the slapiphany, if you will. This episode did put a novel twist on the slapiphany by having the scales fall from the eyes of the slapper rather than the slappee. But is screaming at someone that you're ashamed of them, as Gloria did to Edith, really the most effective form of therapy? Actually, people do do that with loved ones who may be emotionally unstable. That it works in this case is where the false note lies. Also, hugging a person immediately after slapping them. Though it's not uncommon in movies or on TV, ever see it in real life? I know. It's just a sitcom. Pure fiction. But if you're going to insert reality--in this case, rape--into a sitcom, I expect people to act realistically.

Maybe they did. Maybe it was the first episode that was unrealistic. Maybe neither was. Maybe both were. Maybe it's an impossible subject for a sitcom, and we should just applaud the effort and not concern ourseves with the results. You can decide for youselves.

Just don't forget that it's the rapist, not the victim, who's really in the wrong.

Saturday, January 5, 2013

Vital Viewing (Cuban Kryptonite Edition)

The first actor to play Superman on television, George Reeves was born on this date in 1914.

In this clip, Reeves meets a fellow 1950s TV icon: