PEARL HARBOR: THE MOVIE
by Jefferson D. Dunbar, Jr.

Well, according to The New York Times, the Memorial Day weekend blockbuster Pearl Harbor earned enough box office revenue in its first three days to rank second among all time box office champions. (Though its estimated three day gross of $60 million is not enough to surpass the $68.2 million that The Mummy Returns wrapped up in a three day period just a month ago.)

What Hollywood production companies believe and hope is true, is that potential ticket buyers pay more attention to promotional advertising and hype than they do to fastidious critics.

And moviegoers do seem anxious to hand over hard earned dollars and three hours and three minutes of their precious lives to remain patiently in their seats to see the high profile movie, despite less than enthusiastic reviews.

Pearl Harbor had permeated airwaves, print media, and the internet well in advance of its May 25th American premiere.

The three major networks--ABC, CBS, and NBC--aired stories, nearly on a daily basis, of World War II veterans who survived the attack at Pearl Harbor, Hawaii, December 7, 1941. NBC programmed a two hour prime time special about the "day of infamy", hosted by its evening news veteran, Tom Brokaw, the Sunday night before Memorial Day.

If it were left up to Walt Disney Studios, producers of the special effects epic, every man, woman, and child on the face of the earth would have more knowledge of the film than their home addresses and ATM PIN numberss.

And, if box office predictions are correct, Pearl Harbor will bypass last year's four day revenue champ, Mission Impossible 2. Its dialogue soggy with slogans and platitudes -- not to mention near nonexistent character development and story -- Pearl Harbor deserves some praise for its spectacular action sequences, particularly the 40 minute aerial assault on the Harbor that occurs in the second half of the movie.

Historically, we know that it happened.

Still, it is not so subtly telegraphed prior to the movie's depiction. There is the pristine condition of the infirmary, all aglow, swathed in white and quite empty. The young, innocent nurses, attired in form fitting white, just happy to be there doing their part. A stark contrast to the way in which they and their surroundings will appear less than an hour later in the film.

More irritating is Hans Zimmer's ever present musical score, dictating emotional highs and lows. It is about as effective as a flashing applause sign at a live sitcom taping.

But not to worry, for there is one unintended moment of levity within a scene that is meant to be excuriatingly somber.

Hint: Look over Kate Beckinsale's left shoulder as she faces the screen. One of the major male players, and a couple of minor female characters propose a teary-eyed toast.

Just beyond Kate Beckinsale, a hula doll, barely draped in a grass skirt, undulates in a more than suggestive manner. The hula dancer takes you right out of the moment, with a snicker or two.

It appears to be one those continuity errors that escaped the director during filming.

Or, perhaps, the hula doll was placed there as a joke aimed at the director, Michael Bay, with a punch line he missed -- until the editing process.

Hence, the quick cut away from the sexy scene stealing doll.

So look fast!

And pass the word.

Jefferson D. Dunbar, Jr. is a screenwriter in Los Angeles, California, and a frequent contributor to The Idler.