IMDb > Victory Through Air Power (1943)
Victory Through Air Power
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Victory Through Air Power (1943) More at IMDbPro »

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Down 7% in popularity this week. See why on IMDbPro.
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Release Date:
17 July 1943 (USA) See more »
There's a Thrill in the Air!
An animated documentary promoting of the soundness of strategic aerial bombing in World War II. Full summary » | Add synopsis »
Plot Keywords:
Nominated for Oscar. Another 1 win See more »
(10 articles)
Disney 54 – Week 8: Make Mine Music
 (From The Hollywood News. 22 February 2013, 5:00 AM, PST)

Comic Book Review - Rocketeer Adventures, Vol. 2
 (From Flickeringmyth. 11 December 2012, 6:37 AM, PST)

Extended Thoughts on ‘Victory Through Air Power’
 (From SoundOnSight. 23 June 2012, 2:00 AM, PDT)

User Reviews:
Nicely Done See more (13 total) »


  (in credits order)
Alexander de Seversky ... Himself (as Major Alexander P. de Seversky)
rest of cast listed alphabetically:
Art Baker ... Narrator (voice)
Billy Mitchell ... Himself (archive footage)

Directed by
James Algar (sequence director: animation)
Clyde Geronimi (sequence director: animation)
Jack Kinney (sequence director: animation)
H.C. Potter (scenes with Major Seversky)
Writing credits
Alexander de Seversky (book "Victory Through Air Power") (as Maj. Alexander P. Seversky)

Perce Pearce (story direction)

T. Hee (story adaptation) &
Erdman Penner (story adaptation) &
William Cottrell (story adaptation) &
James Bodrero (story adaptation) (as Jim Bodrero) &
Vernon Stallings (story adaptation) (as George Stallings)

Produced by
Walt Disney .... producer (uncredited)
Original Music by
Edward H. Plumb  (as Edward Plumb)
Paul J. Smith 
Oliver Wallace 
Cinematography by
Ray Rennahan (director of photography)
Film Editing by
Jack Dennis 
Art Direction by
Richard Irvine 
Set Decoration by
William Kiernan (interior decoration)
Production Management
Daniel Keefe .... production manager (as Dan Keefe)
Second Unit Director or Assistant Director
Jack Bruner .... assistant director (uncredited)
Lou Debney .... assistant director (uncredited)
Lloyd Richardson .... assistant director (uncredited)
Art Department
Tom Codrick .... art direction: animation
Don DaGradi .... art direction: animation (as Donald Da Gradi)
Cliff Devirian .... art direction: animation
Don Griffith .... art direction: animation
Bill Herwig .... art direction: animation
Karl Karpé .... art direction: animation
Charles Philippi .... art direction: animation
Elmer Plummer .... art direction: animation
Herbert Ryman .... art direction: animation
Glenn Scott .... art direction: animation (as Glen Scott)
Marc Davis .... story sketches (uncredited)
Sound Department
Lodge Cunningham .... sound recordist
C.O. Slyfield .... sound recordist
Animation Department
Edwin Aardal .... animator (as Ed Aardal)
Dick Anthony .... background artist
Jack Boyd .... animator (as Carleton Boyd)
Nino Carbe .... background artist
Claude Coats .... background artist
Al Dempster .... background artist
Hugh Fraser .... animator
David Hand .... animation supervisor
Ray Huffine .... background artist
Ollie Johnston .... animator (as Oliver M. Johnston Jr.)
Bill Justice .... animator
Ward Kimball .... animator
John Lounsbery .... animator
John McManus .... animator
Joshua Meador .... animator (as Josh Meador)
George Rowley .... animator
John Sibley .... animator
Joe Stahley .... background artist
Norman Tate .... animator (as Norm Tate)
Harvey Toombs .... animator
Bill Tytla .... animator
Marvin Woodward .... animator
Marc Davis .... character designer (uncredited)
Rae McSpadden .... ink and paint artist (uncredited)
Music Department
Sidney Fine .... orchestrator (uncredited)
Arthur Morton .... orchestrator (uncredited)
Frederick Stark .... orchestrator (uncredited)
Clifford Vaughan .... orchestrator (uncredited)
Other crew
Walt Disney .... presenter
Natalie Kalmus .... color director
Morgan Padelford .... associate color director
Billy Mitchell .... dedicatee

Production CompaniesDistributors

Additional Details

Also Known As:
70 min
Color (Technicolor)
Aspect Ratio:
1.37 : 1 See more »
Sound Mix:

Did You Know?

All of Alexander de Seversky's live-action monologue sequences were filmed on the Disney backlot late at night to avoid noise pollution from the nearby Lockheed aircraft factory.See more »
Factual errors: The film claims the German's used air power to break through the Maginot line to conquer France. In reality, the German forces avoided directly engaging the Line and instead completely circumvented it.See more »
[first lines]
Billy Mitchell:Today, a war is very different than the last European war was. Now air power is the dominant feature of military operations. Air power can fly directly to the vital centers of an opposing state and neutralize them. It can destroy the cities, it can wreck the aqueducts, it can knock out the lines of communication, it can destroy the food supplies, and make the people helpless to resist.
See more »
Movie Connections:
Featured in Your Friend the Rat (2007)See more »
La MarseillaiseSee more »


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Nicely Done, 24 August 2014
Author: Robert J. Maxwell ( from Deming, New Mexico, USA

It's hard to endorse a film about a war involving such blood, sacrifice, and hatred when it comes to us in the form of a cartoon. Elmer Fudd is the proper subject of a cartoon, and Mickey Mouse, and The Flintstones.

Yet this is probably the most famous cartoon to come out of World War II, made by the Disney people in a style, about a subject, far different from "Snow White and the Seven Dwarfs." There is no newsreel footage at all, and virtually no still photographs. The whole thing is a cartoon. And the cartoons are both informative and reasonably accurate. A Stuka looks like a Stuka, not like a generic "airplane." Even a lesser known airplane like the Japanese G-4 "Betty" looks like what it's supposed to be.

And our chief source of information, aside from Art Baker's narration, is Alexander P. de Seversky, aviation expert, industrialist, and military strategist. It was his company, Republic, that gave us the P-47 Thunderolt.

Here, the live interludes, are lectures from Seversky outlining his thesis in his Russian accent, which goes something like, "Trow avay da bettleships and built airoplens instead." He doesn't argue that air power is an important means of winning the war. To him, it seems to be the ONLY way. His presentation is very simple and clear but in case you don't get his point, the cartoons spell it out for you in lurid color. A chimpanzee would get it.

Of course this was released in 1943, a year during which the major turning points of the war began -- new Allied anti-submarine defenses, Stalingrad, the fall of Italy, and a tremendous outpouring of American military equipment. Seversky's logic points up the importance of air power but, without a crystal ball and without access to classified information, he made claims that weren't true.

Just a few examples, because he doesn't make that many mistakes. The British and French troops weren't successfully evacuated from Dunkirk because the RAF ruled the skies. The Nazis weren't building ever bigger and more potent submarines. The RAF and USAAF attacks on factories were good at tearing up cities but not at destroying the ability to produce weapons or at breaking the will of the victims. He proudly describes the terrific hammering of a city like Köln without mentioning that our own losses in attacks like these were so appalling that they needed to be temporarily suspended. The guy is full of belief and passion, though, so much so that one wouldn't want to argue with him.

He's certainly right about one thing. The longer your supply lines, the less secure your position. It was illustrated in the battles between Rommel and the British in North Africa. Each army would drive the other back until its supplies were unsteady, then they in turn would be driven back to their source. In 1943, Japan's empire covered a vast amount of territory. Seversky examines each possible approach to reaching Japan and rules all of them out. Island hopping? Nope. Too many islands to conquer one by one. Meanwhile Japan would be siphoning off the necessary materials of war from its own conquered territory.

But it was that approach that we finally used successfully, once we realized that we could skip many of the stronghold and leave them to "wither on the vine." The two B-29s that dropped the big ones and ended the war took off from Tinian Island, one of the Ryuku chain, that we had reached by island hopping. And the Japanese never did continue siphoning off enough war materials because our own submarines (that is, the USN, not the USAAF) made the sea routs impassable to shipping.

I don't mean to be too harsh on Seversky. It's certainly no fault of his that he didn't predict thermonuclear bombs and jet engines. Perhaps his presentation was flawed but his reasoning sound. In 1943, even if you knew about our losses over France, Germany, and Romania, would it have been wise to publicize them? The film is almost like a peek into the past and almost renders our current problems minuscule.

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