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HITLER, ‘MAN OF THE YEAR’ A AB-17 PILOT’S LAST MISSION

AMERICA IN

THE MAD GASSER

WWII

Was a Nut or a Nazi

Poisoning Illinoisans?

The Magazine Of A People At War 194

HELL ON

WINGS!

Hellcat Pilots

Burn Japan’s

Elusive Zeros

Errol Flynn on Trial

Girls Accuse Hollywood’s

Ladies’ Man of Rape

February 2013

D-Day’s Destroyers

US Navy Guns Pound Nazi Pillboxes

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AMERICA IN

WWII

February 2013 • Volume Eight • Number Five

F E A T U R E S

14 HELL ON WINGS

A sudden vertical climb was all it took for a Japanese Zero to slip a pursuing American fighter—

until the fast, nimble, and nasty Grumman Hellcat came along. By Brian John Murphy

22 THE MAD GASSER

Temporary paralysis, tremors, nausea, burning skin...

Was some Axis operative or local lunatic attacking little Mattoon, Illinois, with poison gas? By Chuck Lyons

28 D-DAY AT 900 YARDS

As GIs splashed ashore under fire at Omaha Beach, artillerymen aboard the Carmick and other US destroyers

took out German gun nests to help clear the way. By Michael Edwards

36 SCANDAL IN HOLLYWOOD

Movie idol Errol Flynn had a way with the ladies. But when two teenage girls said

he had his way with them , the news bumped the war off page one. By John E. Stanchak

2013 ANNUAL WWII TRAVEL PLANNER A Special Advertising Section A Pages 43–48

d e p a r t m e n t s

2 KILROY 4 V-MAIL 6 PINUP: Dale Evans 8 FUNNIES: Superfanboy 10 LANDINGS: Gotham and the Good War 12 WAR

STORIES 42 FLASHBACK 49 HOME FRONT: A WWII Who’s Who 50 I WAS THERE: Miss Victory 58 BOOKS AND MEDIA

60 THEATER OF WAR: Mister Roberts 62 78 RPM: “That Old Black Magic” 63 WWII EVENTS 64 GIs: The Final Mission

COVER SHOT: At first glance here, Hellcat pilot Alexander Vraciu appears to be giving the No. 1 sign, an appropriate reaction to the turn

of events in the Pacific air war since Hellcats arrived. Actually he’s using both hands to represent the six Japanese planes he just shot down

in the opening minutes of the Battle of the Philippine Sea. NATIONAL ARCHIVES

AMERICA IN

KI LROY

WAS HERE

WWII

January–February 2013

Volume Eight • Number Five

www.AmericaInWWII.com

AThousandWords

PUBLISHER

James P. Kushlan, publisher@americainwwii.com

EDITOR

Carl Zebrowski, editor@americainwwii.com

ART & DESIGN DIRECTOR

Jeffrey L. King

CARTOGRAPHER

David Deis, Dreamline Cartography

CONTRIBUTING EDITORS

Patrice Crowley • Eric Ethier • Robert Gabrick

Tom Huntington • Brian John Murphy • Joe Razes

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Megan McNaughton, admin@americainwwii.com

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Y OU MAY HAVE HEARD that a picture is worth a thousand words. I thought about that

old bromide as I flipped through Colors of Confinement: Rare Kodachrome Photographs

of Japanese American Incarceration in World War II and glimpsed a blur of what turned

out to be page 65. I flipped back to take a closer look. The photo filling the page is

mostly empty, with a squat sprawl of buildings plunked down in the middle of barren

ground with snow-frosted mountains stretched across the horizon beyond. Someone

obviously didn’t want the people here to have contact with the outside world.

Many of the other photos have the same empty feel, even the close-ups of the internees

mugging for the camera. The background behind their faces is distant. We glimpse

beautiful country in the distance, but beautiful in a melancholy way. In fact, melancholy

permeates these images. There’s little obvious squalor in the camp. The internees wear

decent to fine clothing. They look well fed. But even when they’re smiling or celebrating—

like dancing in kimonos on a traditional Japanese holiday or watching a couple of fellow

internees sumo wrestle—something is missing.

Actually a lot of things were missing: freedom, dignity, security. The list goes on.

Most of the people here were American citizens, yet the nation’s fears after Pearl

Harbor forced them to leave their homes on the West Coast and move inland to

a secluded internment camp. That way, the reasoning went, any of them who might

have considered aligning with their ancestral homeland would not be in position to

provide intelligence that might, say, aid coastal air raids.

Bill Manbo was one of these Americans. He and his family were forced from their home

in Hollywood in 1942 and eventually ended up here at the Heart Mountain Relocation

Center. He and his 35mm Zeiss Contax camera were responsible for the photos in this

book, which he didn’t clutter up by tacking on captions. Kodachrome film, first marketed

only seven years earlier, also had a critical role, making possible colors reminiscent of

Hollywood’s Technicolor, but muted rather than brighter than life.

We know who took these photos, but so many other scenes from the World War II

years were saved to film anonymously. GIs trained in photography by the military

snapped their shutters on battlefields, in military camps, on ship decks, and in any other

corner of the world the war invaded. Manbo, the GI photographers, and others united

in the same craft bequeathed to us millions of words’ worth of memories. Unlike

Manbo’s colorful preserved moments, most of the images are black and white. You see

an assortment of them in every issue of this magazine, telling war stories that can’t be

expressed quite the same way in words. Our magazine wouldn’t be the same without them.

So here’s to all those photographers. Maybe next issue, I’ll fill this column with one of

their photos. If you’re counting words, that would give me 500 more than I have now.

Carl Zebrowski

Editor, America in WWII

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