American Heart in WWI, on PBS

There were more American casualties during the Meuse-Argonne than in any other battle, in any other war. Yet, most Americans rarely think about WWI, despite its drastic geopolitical consequences. “The Great War” also inspired celebrated literature and enduring songs, all of which historian John Monsky incorporated into the remarkable concert presentation American Heart in WWI: A Carnegie Hall Tribute, which premieres tonight on PBS.

Encompassing multimedia, staged readings, and a full symphony orchestra, Monsky and five Broadway performers present WWI through the eyes of three soldiers and two women who mourned them. James Reese Europe was a self-made Harlem bandleader, whose Harlem Hellfighters developed a fierce reputation fighting alongside the French, because their white countrymen did not want them. In contrast, Quentin Roosvelt led a privileged life as TR’s son. Monsky frequently compares New York lawyer Charles Whittlesey to Fitzgerald’s Jay Gatsby, who becomes a recurring motif of the staged concert (even though Fitzgerald never saw any direct action).

Vera Brittain chronicled her service as a military nurse in her bestselling memoir Testament of Youth, as well as her grief for her lover, brother, and friends. Likewise, Flora Payne Whitney also hailed from an elite family, but her romance with Roosevelt would be tragically cut short.

There is a good deal of syncopation in the Carnegie Hall concert thanks to Europe. Arguably, he was the biggest bandleader of the late 1910s, who could have been even more significant than Ellington had he lived longer. It is nice to see him get his due in Carnegie Hall, where he played historic concerts with his own orchestra, particularly since his surviving family were there to witness the moment.

In addition to Europe, there is music from many of the Great American Songbook composers, like Jerome Kern, whose “No, We’ll Never Tell” is poignantly expressive of Monsky’s themes. Many of the arrangements are surprisingly sensitive and inventive especially George M. Cohan’s typically martial-sounding “Over There,” which is elegiacally transformed.

Fittingly, there are several selections by Irving Berlin, including tunes he wrote for a revue staged at Camp Upton. There is also a stirring rendition of a tune he cut from the show, but eventually premiered during WWII: “God Bless America.”

Throughout the staging, Monsky skillfully brings his themes full circle. His text undeniably celebrates veterans and America. He also addresses his own family connections in ways that convey the War’s lingering influence rather than shoehorning himself into the narrative.

The Great War, on History Channel

World War One led to the rise of some of the most oppressive regimes of the 20^th Century, including the Bolsheviks in Russia and the National Socialists in Germany. Yet, it also established America as a global super-power and the leader of the free world, a role we have maintained to this day, despite the growing chorus of isolationist voices. Essentially rebuilding the American military from scratch was no easy task, which is why Gen. John J. Pershing emerges as such a significant and underappreciated figure in American history throughout The Great War, the two-part chronicle of American involvement in WWI, airing this coming Monday and Tuesday on History Channel.

There is some discussion of the causes and consequences of WWI, but director Mandla Dube and the expert commentators mostly concentrate on profiling American soldiers and explaining how the tides of war shifted. Like the Doris Kearns Godwin portraits of presidents in crisis (including FDR, Teddy Roosevelt, and Abraham Lincoln) The Great War incorporates dramatic re-enactments with traditional talking head analysis. It also includes a lot of coverage of the Harlem Hellfighters, which is only fitting—and maybe convenient, since Dube probably already had a lot of good material, having also directed History Channel’s Harlem Hellfighters documentary special.

Archduke Ferdinand does not even get a shout-out and everyone lets Wilson off easy for campaigning on a promise to keep America out of the war and then changing his mind (and his virulent racism). However, they make a convincing case his appointment of Gen. Pershing was his best decision as president.

There is very little discussion of the War before America joined the fight, but it is made clear the Allies were on the ropes. England and France desperately wanted American reinforcements, but to his credit, Pershing refused to sacrifice his ill-trained men as mere cannon fodder. It is shocking how few American soldiers were serving in uniform at the time war was declared. That is why so many National Guardsman (like my great-grandfather) were deployed for overseas combat.

In the re-enactment sequences, Langley Kirkwood perfectly captures Pershing’s commanding presence and nicely conveys his empathy for his soldiers. The details of the General’s tragic personal life will probably be new information for many viewers. Gabriel Miya also cuts an impressive figure as artist and Harlem Hellfighter Horace Pippin. However, some of the battlefield re-enactments, including those of the all-white 1^st Infantry Division (the Big Red One) seem less grounded in history than those in History’s presidential predecessors. At times, the tone feels similar to Steven Luke’s fictionalized war movie also titled The Great War.

However, there are some top-notch experts providing insight and context, starting with General David Petraeus. There are further illuminating contributions from Col. Douglas Douds of the U.S. Army War College, Prof. Richard S. Faulkner of the U.S. Army Command and General Staff College, and Col. Robert J. Dalessandro of the American Battle Monuments Commission.

Heartland ’18: The Hello Girls

We forget how much effort once went into telecommunications (a word we hardly use anymore). These days, we can take a phone out of our pockets and call anyone we want, but why bother when we can just text? Yet, during the early 20^th Century, a live person was physically required to connect parties. These people were called telephone operators and for reasons that are now obscure, it became socially acceptable job for women. Of course, communication was critically important for the American military chain-of-command during WWI, so a small but dedicated contingent of operators was dispatched to Europe. Their largely forgotten service is chronicled in James Theres’ The Hello Girls: America’s First Female Soldiers (trailer here), which screens during the 2018 Heartland International Film Festival.

It is nice to have troops that are crack shots, but nothing beats communication. That is why Gen. John J. Pershing had telephone lines set up, connecting him to his officers along the front. However, someone had to connect those calls—and there were very few men who knew how. Like two-hundred-some other women, Grace Banker answered the call for volunteers, but much to her surprise, she was appointed their commander.

At the time, the so-called “Hello Girls” were issued uniforms to serve as part of the Signal Corps. Banker and the first wave of volunteers survived an air raid soon after their arrival and remained well after most of the troops had been shipped home. Yet, it took decades for their service to be officially recognized by the U.S. Army. In fact, it would take an act of Congress, sponsored by the great Sen. Barry Goldwater (as part of a larger bill also granting recognition to the WASP pilots of WWII).

The story of the Hello Girls is a fascinating episode of military, sociological, and tech history. It obviously demonstrates how far women have progressed within the American military, but it also vividly illustrated the importance role information technology plays in successful warfighting.

Theres devotes as much time to the Hello Girls’ fight for recognition as he does to their wartime service, which is understandable, but it would be nice too hear more about their boots-on-the-ground contributions to the Allied victory. Frankly, at just over fifty-five minutes, it feels all too brief. Yet, it should be easy for local PBS stations to find an hour to program it, if that hopefully becomes an option for them eventually.

In production terms, Theres mostly makes respectful but safe aesthetic choices. He incorporates some terrific archival stills, but the soundtrack sounds like blah stock music. Regardless, the important thing is telling the women’s stories—and Theres and his talking heads do right by them in that respect. Highly recommended, The Hello Girls screens today (10/14), Wednesday (10/17), and Saturday (10/20), as part of the Heartland International Film Festival.