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Pearl Harbor (2001)

PG-13 | | Action, Drama, History | 25 May 2001 (USA)
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2:29 | Trailer
A tale of war and romance mixed in with history. The story follows two lifelong friends and a beautiful nurse who are caught up in the horror of an infamous Sunday morning in 1941.

Director:

Michael Bay

Writer:

Randall Wallace
Popularity
1,160 ( 673)
Won 1 Oscar. Another 13 wins & 51 nominations. See more awards »

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Cast

Cast overview, first billed only:
Ben Affleck ... Rafe McCawley
Josh Hartnett ... Danny Walker
Kate Beckinsale ... Evelyn Johnson
William Lee Scott ... Billy
Greg Zola Greg Zola ... Lt. Anthony Fusco
Ewen Bremner ... Red
Alec Baldwin ... Doolittle
Jaime King ... Betty (as James King)
Catherine Kellner ... Barbara
Jennifer Garner ... Sandra
Jon Voight ... President Roosevelt
Cuba Gooding Jr. ... Doris 'Dorie' Miller
Michael Shannon ... Lt. Gooz Wood
Matthew Davis ... Joe (as Matt Davis)
Mako ... Adm. Isoroku Yamamoto
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Storyline

Pearl Harbor is a classic tale of romance set during a war that complicates everything. It all starts when childhood friends Rafe and Danny become Army Air Corps pilots and meet Evelyn, a Navy nurse. Rafe falls head over heels and next thing you know Evelyn and Rafe are hooking up. Then Rafe volunteers to go fight in Britain and Evelyn and Danny get transferred to Pearl Harbor. While Rafe is off fighting everything gets completely whack and next thing you know everybody is in the middle of an air raid we now know as "Pearl Harbor." Written by shoppingurl3

Plot Summary | Plot Synopsis

Taglines:

It was the end of innocence, and the dawn of a nation's greatest glory. See more »


Motion Picture Rating (MPAA)

Rated PG-13 for sustained intense war sequences, images of wounded, brief sensuality and some language | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

USA

Language:

English | Japanese | French

Release Date:

25 May 2001 (USA) See more »

Also Known As:

Tennessee See more »

Filming Locations:

Santa Clarita, California, USA See more »

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Box Office

Budget:

$140,000,000 (estimated)

Opening Weekend USA:

$59,078,912, 27 May 2001

Gross USA:

$198,542,554

Cumulative Worldwide Gross:

$449,220,945
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

| (director's cut)

Sound Mix:

DTS-8 (70 mm print) (5.1 Surround Sound) (5.1)| DTS (as dts) (DTS HD Master Audio 5.1) (5.1 Surround Sound) (5.1)| Dolby Digital (as Dolby Digital) (Dolby Digital 5.1) (5.1 Surround Sound) (5.1)| SDDS (as Sony Dynamic Digital Sound) (8 channels) (5.1 Surround Sound) (5.1)| Dolby Atmos (Dolby Atmos) (5.1 Surround Sound) (5.1)| D-Cinema 48kHz 5.1 (D-Cinema prints) (5.1 Surround Sound) (5.1)

Color:

Color (Technicolor)

Aspect Ratio:

2.39 : 1
See full technical specs »
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Did You Know?

Trivia

Ashton Kutcher lost the role of Danny Walker to Josh Hartnett. See more »

Goofs

In the scene where Rafe gets his medical check, he has problems reading. But in a later scene, he has no problem writing letters to Evelyn, and has no problem reading them. See more »

Quotes

Captain Connor: You ever lose a fight, Miller?
Dorie Miller: I've been lucky, so far, Captain.
Captain Connor: From what I hear it ain't luck. The ship's proud of you, son.
See more »

Crazy Credits

There are no opening credits. See more »

Alternate Versions

A speech by Evelyn (Kate Beckinsale) which tells how America helped win the war despite the attack at Pearl Harbor has been altered for Japanese and German releases, with the word "us" changed to "America's" See more »


Soundtracks

Blues in the Night (My Mama Done Tol Me)
Written by Harold Arlen and Johnny Mercer
Performed by Woody Herman
Courtesy of MCA Records
Under license from Universal Music Enterprises
See more »

Frequently Asked Questions

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User Reviews

Don't watch it solely for history's sake
9 July 2001 | by diggerblueSee all my reviews

The Japanese attack on Pearl Harbor has been a source of both pride and outrage for Americans for decades and, in part, justified our use of the atomic bomb on Hiroshima and Nagasaki. A movie based on these events, then, would need to be handled carefully in its attempt to stir patriotism without inflaming wounds from the past. In the rush of quasi-historical movies that have come in the past five years (reaching a box-office high with 1997's Titanic), the moviegoing public has demonstrated a willingness to sit through films they may have suffered through in grade school in order to get a better sense of what it was actually like to be there, to see the things that happened, to hear the whistles of bombs dropping in the air, and, above all, to experience what really happened.

Michael Bay's presence can be seen throughout the entire movie's content. The special effects worthy of his previous endeavors (Armageddon; The Rock), but the character development is traditionally Bruckheimer-ish/Bay-ish. These are people who fall in love for no other reason than the fact that they're both young and in dangerous circumstances; the lead roles are bursting with machismo; the leading ladies manage to be both tough and feminine at the same time, without really being either. The major problem with these movies is that too much attention is dumped into the action and not enough into the characters performing the action, and this movie is no exception. Although it manages to stir the blood and capture our attention (the almost-three hour duration is hardly even noticed), in the end you get the feeling you were watching something between a football game and a soap opera.

Ben Affleck plays Rafe, an aspiring hotshot pilot dying to get into World War II at a time when most of the U.S. was sitting uneasily on its haunches, watching the war with eyes askance. Josh Hartnett plays Danny, Affleck's friend from childhood and wingman (the two apparently followed their childhood dreams and enlisted together) while cruising in fighter planes. Typical for a Bruckheimer film, there is a deep connection between these two that the audience is left to infer rather than observe. The blooming romance between Affleck and Evelyn (Kate Beckinsall), his duty nurse during combat training, begins with a humorous and touching effect, but sooner or later we have to acknowledge the fact that they're in love because there's a war going on rather than any heartfelt connection made within three weeks' time. The secondary characters are memorable and their presence is not just to fill up a bunker with cadets, but rather to show us the unsung heroes of the war--the ones who weren't necessarily dashing and good-looking, but were called upon to fight, and did so with mettle and guts. Alec Baldwin and Jon Voight both give outstanding performances as Col. Doolittle and Franklin Roosevelt, respectively, but Cuba Gooding, Jr.'s performance is undeservedly short. The most grief we see in him is when he visits his commanding officer's coffin after the attack, a man he speaks perhaps three lines with on-screen. This type of pathos demands a lot of feeling for scarcely-viewed characters, and it gets in the way of many of the film's better points.

The actual attack on Pearl Harbor is conveyed brilliantly. The opening shots depict scene after scene of idyllic island life marred by the roar of approaching enemy planes, and the assault on the military bases leaves absolutely nothing to the imagination as far as what conditions were like on the island that day. The tension, pacing and internal climax of each mini-story leaves you open-mouthed, waiting to see who will survive and who will make it through to fight back. The last third of the movie chronicles the redress to the Japanese and its effects on the country and the rest of the war. Sadly enough, at that point much of the tension established throughout the movie's depiction of the attack is diminished, but there is enough going on to keep you guessing as to whether or not Affleck and Hartnett are going to be able to survive not only the war, but the war's effects on their friendship.

The historical and patriotic scope of this movie is not to be understated (although Yamamoto's lines seem scripted for this day and age and not for 1941), but the leading roles seem incidental compared with the scope of what really happened. It's unfortunate that Bruckheimer sees it as so necessary to rely on stunning visual and dramatic visual effects (for example, the fingers of the trapped soldiers in the slowly-sinking shift is too powerful for my poor words) while placing so much character development secondary. Learning to balance the two could transform a stunning movie into a truly timeless film.


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