
How the Axis Powers Planned to Divide the Spoils
In my senior year in college, the frontal headaches from my pituitary tumor (which I didn’t know I had) typically lasted twelve hours, usually noon to midnight. It was at midnight that I would begin to do my homework assignments. Naturally, as an upperclassman I stayed away from classes that began before noon.
The headaches didn’t come every day, usually every other day on the average.So, half the time, I took my classes with the tumor pressing on my optic nerve. I had complained about it at the student infirmary several times, but my real pain was pooh-poohed by the doctors and nurses—which left me thinking I was a terrible wuss.
Around that time, I hung around at Fairbanks Hall, headquarters of Dartmouth Films, which acted as an audio-visual service for the college, and which ran the Dartmouth Film Society, of which I was second in command. In the evenings, I would check out what 16mm film prints had been ordered for various classes and, if the titles interested me, I would screen them for myself.
This is how I watched the “Why We Fight” series of U.S. World War 2 propaganda films, which were produced under the supervision of the man who directed It’s a Wonderful Life, namely Frank Capra, who served as a Major in the Army Signal Corps. Capra served directly under General George C. Marshall in directing or supervising these films. They consisted of:
- “Prelude to War” (1942)
- “The Nazis Strike” (1943)
- “Divide and Conquer” (1943)
- “The Battle of Britain” (1943)
- “The Battle of Russia” (1943)
- “The Battle of China” (1944)
- “War Comes to America” (1944)
Not part of the series, but viewed by me around the same time, was “Know Your Enemy: Japan” (1945), which was embarrassingly racist.
Other films I remember from this period are two French musicals directed by René Clair (Sous les toits de Paris and Le million, made in 1930 and 1931 respectively). Then there was a French documentary directed by Nelly Kaplan entitled Abel Gance, hier et demain (1963). Once I got to Los Angeles, I made every effort to see as many of Gance’s films as I could. His silent biopic Napoléon (1927) is one of the greatest films ever made.
When I wasn’t screening films for myself, I would chat with my friend Peter Jensen, who was using Dartmouth Films’ Movieola to edit a film he had made based on a Chekhov short story.
Dartmouth Films had a major impact on my life.









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