The five Sullivan brothers had joined the Navy after Pearl Harbor on the condition that they be allowed to serve on the same ship, a recruiting gimmick that the pre-World War II Navy had used. All five were killed when the USS Juneau was sunk by a Japanese submarine during the Battle of Guadalcanal in November 1942. The Office of War Information allowed their loss to be a widely reported story at the time, presumably because the family's fortitude in the face of this catastrophe was thought inspirational. (No mention, of course, was made of the fact that the rest of the Juneau's task force sailed away without trying to rescue survivors and that less than 10 of the crew were ultimately saved.) The audience would have gone into the picture knowing how it must end.
Hollywood chose to treat the Sullivan story not as a war story but as a family portrait of how Americans wanted to feel about themselves. The Sullivans are a working class Irish-American family from Waterloo, Iowa with five sons and a daughter. The father was a railroad freight conductor. They are shown as close knit, hard working, good hearted, religious, loyal, loving, pugnacious and having a strong sense of right and wrong. They get through tough times by sticking together, and the boys learn to stand up for what's right. Given their upbringing, it is inevitably that the Sullivan boys (and by inference all the working class GIs and sailors like them), march down to the recruiting office to join up right after Pearl Harbor. The Navy recruiting officer is the picture of benevolent concern, both when he allows them to serve together and when he delivers the fatal Navy Department telegram to the Sullivan household a year later. Mr. and Mrs. Sullivan and the surviving elder sister take the blow with grief, of course, but also with the stoicism that comes from religion and from not expecting too much out of life. The sister joins the WAVES, and there's a brief coda of the five boys entering a nimbus that suggests the Pearly Gates.
It's a well made, highly professional piece of home front propaganda, but one wordless scene makes it stand out. Thomas Mitchell, who had played Scarlett O'Hara's father, played the father of the Sullivan family as the same kind of tough, cocky little Irishman. Early in the movie, we see the family ritual of his going off to work. As he swings up onto the caboose of the freight train, an honest working man proud to provide for his family, his five boys rush pell mell up the ladder of the railroad water tower to the encircling balcony. There they wave goodbye to him, and he waves back. At the end of the picture, after the mourning was over, Mr. Sullivan goes back to work. As he boards the back of the caboose, he looks up and sees the water tower balcony. It's empty. His knees bend, his shoulders slump, and you can see all the hope and pride drain out of him as the blow finally hits home. The shot has been perfectly foreshadowed, but it's completely unexpected. It's the emotional payoff to which the entire picture had been building up; everything after is just obligatory window dressing.
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