| Tora! Tora! Tora! | |
|---|---|
 Theatrical release poster | |
| Directed by | American sequences Richard Fleischer Japanese sequences Toshio Masuda Kinji Fukasaku |
| Screenplay by | American sequences Larry Forrester Japanese sequences Hideo Oguni Ryūzō Kikushima |
| Based on |
|
| Produced by | Elmo Williams |
| Starring | |
| Cinematography | American sequences Charles F. Wheeler Japanese sequences Shinsaku Himeda Masamichi Satoh Osamu Furuya |
| Edited by | James E. Newcom Pembroke J. Herring Inoue Chikaya |
| Music by | Jerry Goldsmith |
Production companies | Williams-Fleischer Productions Toei Company |
| Distributed by | 20th Century-Fox (United States) Toei Company (Japan) |
Release dates |
|
Running time | 144 minutes |
| Countries | United States Japan |
| Languages | English Japanese |
| Budget | $25 million[1][2] |
| Box office | $37 million(rentals)[3] |
Tora! Tora! Tora! (Japanese:トラ・トラ・トラ！) is a 1970epicwar film that dramatizes the events leading up to theJapaneseattack on Pearl Harbor in 1941, from both American and Japanese positions. The film was produced byElmo Williams and directed byRichard Fleischer,Toshio Masuda andKinji Fukasaku. It features anensemble cast, includingMartin Balsam,Joseph Cotten,So Yamamura,E.G. Marshall,James Whitmore,Tatsuya Mihashi,Takahiro Tamura,Wesley Addy, andJason Robards. It was Masuda and Fukasaku's first English-language film, and first international co-production.
Thetora of the title, although literally meaning "tiger", is actually an abbreviation of a two-syllable codeword (i.e.,totsugeki raigeki 突撃雷撃, "lightning attack"), used to indicate that complete surprise had been achieved.[4]
The film was released in the United States by20th Century-Fox on September 23, 1970, and in Japan by theToei Company on September 25. It received mixed reviews from American critics, but was praised for its historical accuracy and attention to detail, its visual effects, and its action sequences.[5][6]Tora! Tora! Tora! was nominated for fiveOscars at the43rd Academy Awards, includingBest Cinematography andBest Film Editing, winningBest Visual Effects (L.B. Abbott andA.D. Flowers).[7] TheNational Board of Review ranked it in itsTop Ten Films of 1971. A 1994 survey at theUSSArizona Memorial determined that for Americans the film was the most common source of popular knowledge about the Pearl Harbor attack.[8]
In September 1940, following a severe trade embargo imposed on abelligerent Japan by the United States a year prior, influentialJapanese army figures and politicians push through analliance with Germany and Italy, despite opposition from theJapanese navy, and prepare for war. The newly appointed Commander-in-Chief of theCombined Fleet,Admiral Isoroku Yamamoto, reluctantly plans a pre-emptive strike, believing Japan's best hope of controlling thePacific Ocean is to quickly annihilate the American Pacific fleet anchored atPearl Harbor. Air Staff OfficerMinoru Genda is chosen to mastermind the operation, while his old Naval Academy classmateMitsuo Fuchida is selected to lead the attack.
InWashington, U.S. military intelligence has broken the JapanesePurple Code, allowing them to intercept secret Japanese radio transmissions indicating increased Japanese naval activity. U.S. Army ColonelRufus S. Bratton and U.S. Navy Lieutenant Commander Alwin Kramer monitor the transmissions. At Pearl Harbor, AdmiralHusband E. Kimmel increases defensive naval and air patrols around Hawaii. GeneralWalter Short orders aircraft concentrated on the airfield runways to avoid sabotage by enemy agents, while some planes are dispersed to other airfields onOahu.
Diplomatic tensions escalate as the Japanese ambassador to Washington continues negotiations to stall for time. Bratton and Kramer learn from intercepted radio messages that the Japanese planned to send 14 messages fromTokyo to their embassy in Washington, with orders to destroy their code machines after receiving the final message. Deducing that the Japanese will launch a surprise attack after the messages are delivered, Bratton tries to warn his superiors. However, Chief of Naval OperationsHarold R. Stark is indecisive over notifying Hawaii without first alerting PresidentFranklin D. Roosevelt. In contrast, Army Chief of Staff GeneralGeorge Marshall's order to alert Pearl Harbor of an attack is stymied by poor atmospheric conditions that prevent radio transmission and by a warning telegram not marked urgent. The Japanese fleet launches its aircraft at dawn on December 7, 1941. Two radar operators detect their approach to Hawaii, but the duty officer, LieutenantKermit Tyler, dismisses their concerns. Similarly, the claim by the destroyerUSS Ward to have sunk a Japanese miniature submarine off the entrance to Pearl Harbor is dismissed as unimportant. The Japanese achieve total surprise, which Commander Fuchida indicates with the code signal "Tora! Tora! Tora!"
The damage to the naval base is catastrophic, and casualties are severe. Several battleships are either sunk or heavily damaged; General Short's anti-sabotage precautions allow Japanese aircraft to easily destroy American planes on the ground. In Washington, a stunnedSecretary of StateCordell Hull is asked to receive the Japanese ambassadorKichisaburō Nomura. The 14-part message – including a declaration that peace negotiations were at an end – was meant to be forwarded to the Americans thirty minutes before the attack, but the Japanese embassy failed to decode and transcribe it in time. The attack started while the two nations were technically still at peace. The distraught Nomura, helpless to explain the late ultimatum and unaware of the ongoing attack, is rebuffed by Hull.
The Japanese fleet commander, Vice-AdmiralChūichi Nagumo, refuses to launch a scheduled third wave of attack aircraft for fear of exposing his fleet to U.S. submarines. General Short and Admiral Kimmel belatedly receive Marshall's telegram warning of impending danger. Aboard his flagship, Admiral Yamamoto informs his staff that their primary target – the American aircraft carriers – were not at Pearl Harbor, having departed days previously. Lamenting that the declaration of war arrived after the attack began, Yamamoto notes that nothing would infuriate the U.S. more and concludes:"I fear all we have done is to awaken a sleeping giant and fill him with a terrible resolve."
Note: Characters listed by rank in descending order
| Actor | Role | Notes |
|---|---|---|
| Leora Dana | Ileana Kramer | Lt. Cdr. Kramer's wife |
| June Dayton | Ray Cave | Secretary |
| Akira Kume | Katsuzo Okumura | Japanese embassy secretary |
| Jeff Donnell | Cornelia Fort | Civilian flying instructor |
| Hank Jones | Davey | Civilian student pilot |
| Andrew Hughes | MinisterJoachim von Ribbentrop | GermanMinister for Foreign Affairs |
| Kiyoshi Atsumi | Japanese messman |
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Veteran20th Century-Fox executiveDarryl F. Zanuck, who had earlier producedThe Longest Day (1962), wanted to create an epic that depicted what "really happened onDecember 7, 1941", with a "revisionist's approach". He believed that the commanders in Hawaii, GeneralWalter Short and AdmiralHusband E. Kimmel, though scapegoated for decades, provided adequate defensive measures for the apparent threats, including relocation of the fighter aircraft atPearl Harbor to the middle of the base, in response to fears of sabotage from local Japanese. Despite a breakthrough in intelligence, they had received limited warning of the increasing risk of aerial attack.[1] Recognizing that a balanced and objective recounting was necessary, Zanuck developed an American-Japanese co-production, allowing for "a point of view from both nations".[11] He was helped out by his son,Richard D. Zanuck, who was chief executive at Fox during this time.
Production onTora! Tora! Tora! took three years to plan and prepare for the eight months ofprincipal photography.[11] The film was created in two separate productions, one based in the United States, directed byRichard Fleischer, and one based in Japan.[12] The Japanese side was initially to be directed byAkira Kurosawa, who worked on script development andpre-production for two years. However, after two weeks of shooting, he was replaced byToshio Masuda andKinji Fukasaku, who directed the Japanese sections.[12][13]Toshiro Mifune reportedly had been scheduled to playIsoroku Yamamoto but withdrew when Kurosawa left the project.
Richard Fleischer said of Akira Kurosawa's role in the project:
Well, I always thought that even though Kurosawa was a genius at film-making and indeed he was, I sincerely believe that he was miscast for this film, this was not his type of film to make, he never made anything like it and it just wasn't his style. I felt he was not only uncomfortable directing this kind of movie but also he wasn't used to having somebody tell him how he should make his film. He always had complete autonomy, and nobody would dare make a suggestion to Kurosawa about the budget, or shooting schedule, or anything like that. And then here he was, with Darryl Zanuck on his back and Richard Zanuck on him andElmo Williams and the production managers, and it was all stuff that he never had run into before, because he was always untouchable. I think he was getting more and more nervous and more insecure about how he was going to work on this film. And of course, the press got a hold of a lot of this unrest on the set and they made a lot out of that in Japan, and it was more pressure on him, and he wasn't used to that kind of pressure.[14]
Larry Forrester and frequent Kurosawa collaboratorsHideo Oguni andRyūzō Kikushima wrote the screenplay, based on the booksThe Broken Seal byLadislas Farago andTora! Tora! Tora! byGordon Prange ofUniversity of Maryland, who served as a technical consultant. Numerous technical advisors on both sides, some of whom had participated in the battle and/or planning, were crucial in maintaining the accuracy of the film.Minoru Genda, the man who largely planned and led the attack on Pearl Harbor, was an uncredited technical advisor for the film.[1]
Four cinematographers were involved in the main photography:Charles F. Wheeler,Shinsaku Himeda,Masamichi Satoh, andOsamu Furuya.[15] They were jointly nominated for theAcademy Award for Best Cinematography. A number of well-known cameramen also worked on thesecond units without credit, includingThomas Del Ruth and Rexford Metz.[15] The second unit doing miniature photography was directed byRay Kellogg, while the second unit doing aerial sequences was directed by Robert Enrietto.
Noted composerJerry Goldsmith composed the film score andRobert McCall painted several scenes for various posters of the film.[16]
The carrier entering Pearl Harbor towards the end of the film was in fact theEssex-classaircraft carrierUSS Kearsarge, returning to port. The "Japanese" aircraft carrier was the anti-submarine carrierUSS Yorktown, fitted with a false bow to disguise the catapults. The JapaneseA6M Zero fighters and the somewhat longer "Kate" torpedo bombers or "Val" dive bombers were heavily modifiedRoyal Canadian Air Force Harvard (T-6 Texan) andBT-13 Valiant pilot training aircraft. The large fleet of Japanese aircraft was created byLynn Garrison, a well-known aerial action coordinator, who produced a number of conversions. Garrison and Jack Canary coordinated the actual engineering work at facilities in the Los Angeles area. These aircraft still make appearances at air shows.[17]
For the parallel filming in Japan, full-scale mock-ups of the Japanese battleshipNagato and aircraft carrierAkagi were built from the waterline up on shore, with about 90 feet (27 m) of their bows extending out over the ocean on stilts. These were used for much of the Japanese scenes on ship's decks. The one error introduced, however, was that the modelAkagi's bridge was built on the starboard side instead of the port side. Only two Japanese carriers were built in this fashion, with bridges on the port side:Akagi andHiryū. This was done because it was known that for the launching scenes filmed in the US, a US carrier would be used, and the islands of US carriers were always on the starboard side. A few of the modified aircraft were also converted in Japan for the flight scenes filmed there.
In preparation for filming,Yorktown was berthed atNAS North Island inSan Diego to load all the aircraft, maintenance, and film crew prior to sailing to Hawaii. The night before filming the "Japanese" take-off scenes, she sailed to a spot a few miles west of San Diego, and at dawn the film crew filmed the launches of all the aircraft. Since these "Japanese" aircraft were not actual carrier-based aircraft, they did not havearresting gear with which to land back on the carrier and so continued on to land at North Island Naval Air Station.Yorktown sailed back to North Island and re-loaded the aircraft. She then sailed to Hawaii, where the aircraft were off-loaded and used to film the attack scenes in and around Pearl Harbor. Aircraft Specialties ofMesa, Arizona performed maintenance on the aircraft while in Hawaii.[citation needed]
The actual crash landing of aBoeing B-17 Flying Fortress during filming, a result of a jammed landing gear, was used in the final cut.[18][unreliable source?] The film crew received word that one of the B-17s could not lower its starboard landing gear, so they quickly set up to film the "single gear" landing. The aircraft stayed aloft to use up as much fuel as possible prior to landing, which gave the film crew some time to prepare. After viewing the "single gear" landing footage, they decided to include it in the movie. In the sequence depicting the crash, only the final crash was actual footage. For the scenes leading up to the crash, they manually retracted the starboard landing gear on a functioning B-17 and filmed the scenes of its final approach. After touching down on one wheel, the pilot simply applied power and took off again. The B-17 that actually landed with one gear up sustained only minor damage to the starboard wing and propellers and was repaired and returned to service. A total of five Boeing B-17s were obtained for filming. Other U.S. aircraft included theConsolidated PBY Catalina and, especially, theCurtiss P-40 Warhawk (two flyable examples were used). Predominantly, P-40 fighter aircraft were used to depict the U.S. defenders with a full-scale P-40 used as a template for fiberglass replicas (some with working engines and props) that were strafed and blown up during filming.[19] Fleischer also said a scene involving a P-40 model crashing into the middle of a line of P-40s was unintended, as it was supposed to crash at the end of the line. The stuntmen involved in the scene were actually running for their lives.[20] The B-17 crash along with several other scenes were reused in the 1976 filmMidway.
With over 30 aircraft in the air, the flying scenes were complex to shoot, comparable to the 1969 filmBattle of Britain where large formations of period-specific aircraft were filmed in staged aerial battles.[21] The 2001 filmPearl Harbor would use some of the same modified aircraft.[22]
The film was deliberately cast with actors who were not true box-office stars, including many Japanese amateurs, in order to place the emphasis on the story rather than the actors who were in it.[23]
Several members of the cast had themselves served inWorld War II.
| Actor | Service | Notes |
|---|---|---|
| Martin Balsam | Army Air Forces | B-24 radio operator |
| James Whitmore | Marine Corps | Lieutenant |
| Jason Robards | Navy | USS Northampton andUSS Nashville |
| Wesley Addy | Army | |
| Norman Alden | Army | |
| Frank Aletter | Army | |
| Richard Anderson | Army | |
| Keith Andes | Army Air Forces | |
| Edward Andrews | Army | Captain, awardedBronze Star Medal |
| Neville Brand | Army | Earned aPurple Heart andSilver Star |
| Walter Brooke | Army | |
| Paul Frees | Army | Wounded in combat onD-Day |
| G. D. Spradlin | Army Air Forces | |
| Arthur Tovey | Army | |
| Harlan Warde | Army | Special Forces |
| Bill Zuckert | Navy | Construction Battalion ("Seabees") |
Some crew members also served in the war.
| Crew member | Credited as | Service | Notes |
|---|---|---|---|
| Richard Fleischer | Director / Producer | Army | |
| Darryl F. Zanuck | Executive producer | Army | Colonel,Army Signal Corps. Also served inWorld War I. |
| Charles F. Wheeler | Cinematographer | Navy | Combat photographer |
| Gordon W. Prange | Author / Technical consultant | Navy | Chief Historian in GeneralDouglas MacArthur's staff |
Some cast members served before or after World War II.
| Actor | Service | Engagements | Notes |
|---|---|---|---|
| Leon Ames | Army /Army Air Service | World War I | Field artillery and later in the flying corps |
| Ron Masak | Army | ||
| Jamie Farr(uncredited voice acting) | Army | Korean War | Armed Forces Radio Service (AFRS) |
_during_filming_of_Tora_Tora_Tora_movie_1968.jpeg)
Tora! Tora! Tora! is regarded highly by Pearl Harbor historians and survivors for its accuracy.
Parts of the film showing the takeoff of the Japanese aircraft utilize anEssex-classaircraft carrier,Yorktown, which wascommissioned in 1943 and modernized after the war to have a very slightly angledflight deck.[24] The ship was leased by the film producers, who needed an aircraft carrier for the film, and asYorktown was scheduled to be decommissioned in 1970, the Navy made her available. She was used largely in the takeoff sequence of the Japanese attack aircraft. The sequence shows interchanging shots of models of the Japanese aircraft carriers andYorktown. She does not look like any of the Japanese carriers involved in the attack, due to her largebridge island and her angled landing deck. The Japanese carriers had small bridge islands, and it was not until after the war that angled flight decks were developed.[25] In addition, during the scene in which Admiral Halsey is watching bombing practice, an aircraft carrier with the hull number 14 is shown. Admiral Halsey was onUSS Enterprise, not theEssex-class carrierUSS Ticonderoga, which would not be commissioned until 1944. This is understandable, however, asEnterprise and all six of the Japanese carriers from the attack had been scrapped or sunk.
InTora! Tora! Tora!, an error involves the model ofJapanese aircraft carrier Akagi. In the film,Akagi's bridge island is positioned on thestarboard side of the ship, which is typical on most aircraft carriers. However,Akagi was an exception; her bridge island was on theport side of the ship. Despite this, the bridge section appeared accurately as a mirrored version ofAkagi's real port-side bridge.[26] Secondly, all the Japanese aircraft in the footage bear the markings ofAkagi's aircraft (a single vertical red stripe following the red sun symbol of Japan), even though five other aircraft carriers participated, each having its own markings. In addition, the markings do not display the aircraft's identification numbers as was the case in the actual battle. The white surround on theroundel on the Japanese aircraft was only used from 1942 onwards. Prior to this, the roundel was red only.[27]
USS Ward (DD-139) was an old "4-piper"destroyer commissioned in 1918; the ship used in the movie,USS Finch (DE-328), which portraysWard, looked far different from the original destroyer.[28] In addition, in the movie, she fired two shots from her #1gun turret. In reality,Ward fired the first shot from the #1 4-inch (102 mm) un-turreted gunmount and the second shot from the #3 wing mount.[29] The attack on the midget submarine by USSWard was previously mentioned in the filmIn Harm's Way.
A full-scale set was built representing thestern section of a U.S. NavyStandard-type battleship showing two aft gun turrets each with three gun barrels. It was used to portray bothUSS Arizona andUSS Nevada and other battleships. It was correct for USSArizona but incorrect for USSNevada, which had lower triple and upper twin gun turrets. The1⁄15 scale model of USSNevada used to portray the whole ship in wide shots displayed the fore and aft turrets accurately in a 3-2-2-3 arrangement. Alattice mast (or cage mast) section representing aTennessee-class orColorado-class battleship was built on the ground behind the full-scale stern set to give the appearance that the set was onBattleship Row. The USSArizona/USSNevada stern section set was used for the explosion that destroyed USSArizona, although the explosion took place in the forward #2magazine andArizona's stern section remained essentially intact.
The film has a JapaneseZero fighter being damaged by U.S. Navy CPOJohn William Finn at Naval Air Station atKāneʻohe Bay and then deliberately crashing into a hangar. This is actually a composite of three incidents during thePearl Harbor attack: in the first wave, a Japanese Zero crashed intoFort Kamehameha's ordnance building; in the second wave, a Japanese Zero deliberately crashed into a hillside after Finn shot and damaged the aircraft; also during the second wave, a damaged Japanese aircraft crashed into theseaplane tenderUSS Curtiss.[30]
During a number of shots of the attack squadrons traversing across Oahu, a white cross can be seen standing on one of the mountainsides. The cross was actually erected after the attack as a memorial to the victims.[31]
The film also featuredMitsuo Fuchida (Takahiro Tamura) and Minoru Genda (Tatsuya Mihashi) asking AdmiralChūichi Nagumo (Eijirō Tōno) for a third strike, but like many of Fuchida's post war claims this has been called into question. Genda denied making such a request and he and AdmiralRyūnosuke Kusaka both denied that Fuchida did.
In the final scene, Admiral Isoroku Yamamoto (Sō Yamamura) says:"I fear all we have done is to awaken a sleeping giant". An abridged version of this quotation is featured in the 2001 filmPearl Harbor. The 2019 filmMidway also features Yamamoto (Etsushi Toyokawa) speaking aloud the "sleeping giant" quote. Although the quotation may well have encapsulated many of his real feelings about the attack, there is no printed evidence to prove Yamamoto made this statement or wrote it down.[32] Director Richard Fleischer stated that while Yamamoto may never have said those words, the film's producer,Elmo Williams, had found the line written in Yamamoto's diary. Williams, in turn, has stated that Larry Forrester, the screenwriter, found a 1943 letter from Yamamoto to the Admiralty inTokyo containing the quotation. However, Forrester cannot produce the letter, nor can anyone else, American or Japanese, recall it or find it.[33][better source needed]
The film had its world premiere on September 23, 1970, in New York, Tokyo,Honolulu andLos Angeles.[34]
At the time of its initial release,Tora! Tora! Tora! was thought to be a box office disappointment in North America,[35] despite its domestic box office of $29,548,291 making it theninth-highest-grossing film of 1970.[36] It was a major hit in Japan, and over the years, home media releases provided a larger overall profit.[37][38] The film had earned¥194.22 million in Japanesedistributor rentals by 1971, becoming the sixth-highest-grossing film of 1971 in Japan.[39]
According to Fox records, the film required$37.15 million in rentals to break even, and had done so by December 11, 1970.[3]
OnRotten Tomatoes, the film holds a 57% rating based on 30 reviews. The site's consensus states: "Tora! Tora! Tora! is scrupulously accurate and lays out of the tragedy of Pearl Harbor with intricate detail, but the film's clinical approach to the sound and fury signifies little feeling."[6] OnMetacritic it has a score of 46% based on reviews from 8 critics, indicating "mixed or average reviews".[40]
Roger Ebert gave the film one star and felt thatTora! Tora! Tora! was "one of the deadest, dullest blockbusters ever made" and suffered from not having "some characters to identify with." In addition, he criticized the film for poor acting and special effects in his 1970 review.[41]Vincent Canby, reviewer forThe New York Times, was similarly unimpressed, noting the film was "nothing less than a $25-million irrelevancy."[42]Variety also found the film to be boring; however, the magazine praised the film's action sequences and production values.[43]Charles Champlin in his review for theLos Angeles Times on September 23, 1970, considered the movie's chief virtues as a "spectacular", and the careful recreation of a historical event.[7]
Despite the initial negative reviews, the film was critically acclaimed for its vivid action scenes and found favor with aviation aficionados.[5] However, even the team of Jack Hardwick and Ed Schnepf, who had been involved in research on aviation films, relegatedTora! Tora! Tora! to the "also-ran" status due to its slow-moving plotline.[5]
Several later films and TV series relating to World War II in the Pacific have used footage fromTora! Tora! Tora!. These productions include the filmsMidway (1976; in theTora! Tora! Tora! DVD commentary, Fleischer expressed anger thatUniversal used the footage),All This and World War II (film 1976),Pearl (TV mini-series 1978),From Here to Eternity (TV mini-series 1979),The Final Countdown (1980), andAustralia (2008) as well as theMagnum, P. I. television series episode titled "Lest We Forget" (first airdate February 12, 1981).[44]
In 1994, a survey at theUSSArizona Memorial in Honolulu determined that for Americans the film was the most common source of popular knowledge about the Pearl Harbor attack.[8]
Clark Collis ofEmpire gave the film three out of five stars, writing that the film "is high on historical veracity but low on drama".[45] In 2016,Cinema Retro released a special issue dedicated toTora! Tora! Tora! which detailed the Blu-ray release of the film. Stating that the film "has only grown in stature over the decades", it praises the attack sequences, calling them "quite spectacular", and commends the portrayal of the Japanese as "anything but ethnic stereotypes, which adds immensely to the impact of their side of the story". It also praises the "innovative, pulse-pounding" soundtrack.[46] Reviewers called the film as being "meticulous"[47] in its approach to dissecting the situation leading up to the attack. A reviewer calledTora! Tora! Tora! a fine documentary-style film about the Japanese attack on Pearl Harbor. The usage of both American and Japanese filmmakers provides an unbiased film and unique viewing experience, and is uncommon in the genre.[48] A 2018 article described the film as doing "a most memorable job in portraying the whole Pearl Harbor experience".[49]
In 2025,The Hollywood Reporter listedTora! Tora! Tora! as having the best stunts of 1970.[50]
| Ceremony | Category | Nominee(s) | Result |
|---|---|---|---|
| 43rd Academy Awards | Best Cinematography | Charles F. Wheeler,Shinsaku Himeda,Osamu Furuya andMasamichi Satoh | Nominated |
| Best Film Editing | James E. Newcom,Pembroke J. Herring andInoue Chikaya | Nominated | |
| Best Art Direction | Art Direction:Jack Martin Smith,Yoshirō Muraki,Richard Day andTaizô Kawashima Set Decoration:Walter M. Scott,Norman Rockett andCarl Biddiscombe | Nominated | |
| Best Special Visual Effects | L. B. Abbott andA. D. Flowers[7] | Won | |
| Best Sound | Murray Spivack andHerman Lewis[51] | Nominated | |
| 1971American Cinema Editors Awards | Best Edited Feature Film – Dramatic | James E. Newcom, Pembroke J. Herring, Inoue Chikaya | Nominated |
| 1971Laurel Awards | Best Picture | 8th place | |
| Best Cinematographer | Charles F. Wheeler, Shinsaku Himeda, Osamu Furuya, Masamichi Satoh | 4th place | |
| National Board of Review Awards 1970 | Top Ten Films | 10th place | |
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