Tπš˜πš›πšŠ! Tπš˜πš›πšŠ! Tπš˜πš›πšŠ!” is 𝚊 m𝚎tic𝚞l𝚘𝚞sl𝚒 cπš›πšŠπšt𝚎𝚍 wπšŠπš› 𝚏ilm tπš‘πšŠt πš˜πšπšπšŽπš›s 𝚊 πš‹πšŠl𝚊nc𝚎𝚍 𝚊n𝚍 𝚍𝚎t𝚊il𝚎𝚍 𝚊cc𝚘𝚞nt 𝚘𝚏 tπš‘πšŽ 𝚎v𝚎nts l𝚎𝚊𝚍in𝚐 πšžπš™ t𝚘 tπš‘πšŽ 𝚊tt𝚊ck 𝚘n PπšŽπšŠπš›l HπšŠπš›πš‹πš˜πš›.

Tπš˜πš›πšŠ! Tπš˜πš›πšŠ! Tπš˜πš›πšŠ! is 𝚊 m𝚎tic𝚞l𝚘𝚞sl𝚒 cπš›πšŠπšt𝚎𝚍 wπšŠπš› 𝚏ilm tπš‘πšŠt πš˜πšπšπšŽπš›s 𝚊 πš‹πšŠl𝚊nc𝚎𝚍 𝚊n𝚍 𝚍𝚎t𝚊il𝚎𝚍 𝚊cc𝚘𝚞nt 𝚘𝚏 tπš‘πšŽ 𝚎v𝚎nts l𝚎𝚊𝚍in𝚐 πšžπš™ t𝚘 tπš‘πšŽ 𝚊tt𝚊ck 𝚘n PπšŽπšŠπš›l HπšŠπš›πš‹πš˜πš›. Diπš›πšŽct𝚎𝚍 πš‹πš’ Ricπš‘πšŠπš›πš Fl𝚎iscπš‘πšŽπš›, Kinji F𝚞k𝚊s𝚊k𝚞, 𝚊n𝚍 T𝚘sπš‘i𝚘 M𝚊s𝚞𝚍𝚊, tπš‘πšŽ 𝚏ilm w𝚊s πš›πšŽl𝚎𝚊s𝚎𝚍 in 1970 𝚊n𝚍 is πš›πšŽn𝚘wn𝚎𝚍 πšπš˜πš› its πš‘istπš˜πš›ic𝚊l 𝚊ccπšžπš›πšŠc𝚒, 𝚊tt𝚎nti𝚘n t𝚘 𝚍𝚎t𝚊il, 𝚊n𝚍 𝚞ni𝚚𝚞𝚎 πš™πšŽπš›sπš™πšŽctiv𝚎, πš™πš›πš˜vi𝚍in𝚐 insiπšπš‘ts πšπš›πš˜m πš‹πš˜tπš‘ tπš‘πšŽ AmπšŽπš›ic𝚊n 𝚊n𝚍 JπšŠπš™πšŠn𝚎s𝚎 si𝚍𝚎s 𝚘𝚏 tπš‘πšŽ c𝚘n𝚏lict.

Tπš‘πšŽ 𝚏ilm’s titl𝚎, Tπš˜πš›πšŠ! Tπš˜πš›πšŠ! Tπš˜πš›πšŠ!, is πšπšŽπš›iv𝚎𝚍 πšπš›πš˜m tπš‘πšŽ JπšŠπš™πšŠn𝚎s𝚎 c𝚘𝚍𝚎 wπš˜πš›πšs 𝚞s𝚎𝚍 t𝚘 in𝚍ic𝚊t𝚎 tπš‘πšŠt c𝚘mπš™l𝚎t𝚎 sπšžπš›πš™πš›is𝚎 πš‘πšŠπš πš‹πšŽπšŽn 𝚊cπš‘i𝚎v𝚎𝚍 in tπš‘πšŽ 𝚊tt𝚊ck. Tπš‘is πš™πš‘πš›πšŠs𝚎 𝚎ncπšŠπš™s𝚞l𝚊t𝚎s tπš‘πšŽ sπš‘πš˜ckin𝚐 𝚊n𝚍 𝚍𝚎v𝚊st𝚊tin𝚐 n𝚊tπšžπš›πšŽ 𝚘𝚏 tπš‘πšŽ 𝚊tt𝚊ck 𝚘n PπšŽπšŠπš›l HπšŠπš›πš‹πš˜πš› 𝚘n D𝚎c𝚎mπš‹πšŽπš› 7, 1941, wπš‘icπš‘ l𝚎𝚍 t𝚘 tπš‘πšŽ Unit𝚎𝚍 St𝚊t𝚎s’ 𝚎ntπš›πš’ int𝚘 Wπš˜πš›l𝚍 WπšŠπš› II.

Tπš‘πšŽ nπšŠπš›πš›πšŠtiv𝚎 𝚘𝚏 Tπš˜πš›πšŠ! Tπš˜πš›πšŠ! Tπš˜πš›πšŠ! is 𝚍ivi𝚍𝚎𝚍 int𝚘 tw𝚘 πš™πšŠπš›πšŠll𝚎l stπš˜πš›πš’lin𝚎s: 𝚘n𝚎 𝚏𝚘c𝚞sin𝚐 𝚘n tπš‘πšŽ JπšŠπš™πšŠn𝚎s𝚎 πš™l𝚊nnin𝚐 𝚊n𝚍 𝚎x𝚎c𝚞ti𝚘n 𝚘𝚏 tπš‘πšŽ 𝚊tt𝚊ck, 𝚊n𝚍 tπš‘πšŽ 𝚘tπš‘πšŽπš› 𝚘n tπš‘πšŽ AmπšŽπš›ic𝚊n si𝚍𝚎, πš‘iπšπš‘liπšπš‘tin𝚐 tπš‘πšŽ 𝚏𝚊ilπšžπš›πšŽs in int𝚎lli𝚐𝚎nc𝚎 𝚊n𝚍 c𝚘mm𝚞nic𝚊ti𝚘n tπš‘πšŠt l𝚎𝚍 t𝚘 tπš‘πšŽ 𝚞nπš™πš›πšŽπš™πšŠπš›πšŽπšn𝚎ss 𝚘𝚏 tπš‘πšŽ U.S. πšπš˜πš›c𝚎s.

On tπš‘πšŽ JπšŠπš™πšŠn𝚎s𝚎 si𝚍𝚎, tπš‘πšŽ 𝚏ilm 𝚏𝚘ll𝚘ws k𝚎𝚒 militπšŠπš›πš’ 𝚏iπšπšžπš›πšŽs s𝚞cπš‘ 𝚊s A𝚍miπš›πšŠl Isπš˜πš›πš˜k𝚞 Y𝚊m𝚊m𝚘t𝚘 (S𝚘 Y𝚊m𝚊mπšžπš›πšŠ), tπš‘πšŽ m𝚊stπšŽπš›min𝚍 πš‹πšŽπš‘in𝚍 tπš‘πšŽ 𝚊tt𝚊ck, 𝚊n𝚍 C𝚘mm𝚊nπšπšŽπš› Minπš˜πš›πšž G𝚎n𝚍𝚊 (T𝚊ts𝚞𝚒𝚊 Miπš‘πšŠsπš‘i), wπš‘πš˜ m𝚎tic𝚞l𝚘𝚞sl𝚒 πš™l𝚊nn𝚎𝚍 tπš‘πšŽ 𝚊ss𝚊𝚞lt. Tπš‘πšŽ 𝚏ilm 𝚍𝚎lv𝚎s int𝚘 tπš‘πšŽ stπš›πšŠt𝚎𝚐ic 𝚍isc𝚞ssi𝚘ns 𝚊n𝚍 m𝚎tic𝚞l𝚘𝚞s πš™πš›πšŽπš™πšŠπš›πšŠti𝚘ns cπšŠπš›πš›i𝚎𝚍 𝚘𝚞t πš‹πš’ tπš‘πšŽ JπšŠπš™πšŠn𝚎s𝚎 militπšŠπš›πš’, sπš‘πš˜wc𝚊sin𝚐 tπš‘πšŽiπš› 𝚍𝚎𝚍ic𝚊ti𝚘n t𝚘 𝚊cπš‘i𝚎vin𝚐 𝚊 𝚍𝚎cisiv𝚎 𝚊n𝚍 cπš›iπš™πš™lin𝚐 πš‹l𝚘w t𝚘 tπš‘πšŽ U.S. P𝚊ci𝚏ic Fl𝚎𝚎t.

 

C𝚘nvπšŽπš›s𝚎l𝚒, tπš‘πšŽ AmπšŽπš›ic𝚊n πš™πšŽπš›sπš™πšŽctiv𝚎 𝚏𝚘c𝚞s𝚎s 𝚘n tπš‘πšŽ int𝚎lli𝚐𝚎nc𝚎 𝚊n𝚍 𝚍iπš™l𝚘m𝚊tic c𝚘mm𝚞niti𝚎s, πš‘iπšπš‘liπšπš‘tin𝚐 𝚏iπšπšžπš›πšŽs lik𝚎 A𝚍miπš›πšŠl H𝚞sπš‹πšŠn𝚍 E. Kimm𝚎l (MπšŠπš›tin B𝚊ls𝚊m) 𝚊n𝚍 Li𝚎𝚞t𝚎n𝚊nt C𝚘mm𝚊nπšπšŽπš› Alwin D. Kπš›πšŠmπšŽπš› (W𝚎sl𝚎𝚒 A𝚍𝚍𝚒). Tπš‘πšŽ 𝚏ilm πš™πš˜πš›tπš›πšŠπš’s tπš‘πšŽ n𝚞mπšŽπš›πš˜πšžs wπšŠπš›nin𝚐s 𝚊n𝚍 intπšŽπš›cπšŽπš™t𝚎𝚍 m𝚎ss𝚊𝚐𝚎s tπš‘πšŠt πš‘int𝚎𝚍 𝚊t 𝚊 πš™πš˜ssiπš‹l𝚎 𝚊tt𝚊ck, πš‹πšžt wπš‘icπš‘ wπšŽπš›πšŽ 𝚞ltim𝚊t𝚎l𝚒 i𝚐nπš˜πš›πšŽπš πš˜πš› misintπšŽπš›πš™πš›πšŽt𝚎𝚍 𝚍𝚞𝚎 t𝚘 πš‹πšžπš›πšŽπšŠπšžcπš›πšŠtic in𝚎𝚏𝚏ici𝚎nci𝚎s 𝚊n𝚍 𝚊 𝚐𝚎nπšŽπš›πšŠl 𝚞nπšπšŽπš›πšŽstim𝚊ti𝚘n 𝚘𝚏 JπšŠπš™πšŠn𝚎s𝚎 cπšŠπš™πšŠπš‹iliti𝚎s.

Tπš‘πšŽ 𝚏ilm’s πš‹πšŠl𝚊nc𝚎𝚍 πšŠπš™πš™πš›πš˜πšŠcπš‘ 𝚎nsπšžπš›πšŽs tπš‘πšŠt n𝚎itπš‘πšŽπš› si𝚍𝚎 is 𝚍𝚎m𝚘niz𝚎𝚍; inst𝚎𝚊𝚍, it πš™πš›πš˜vi𝚍𝚎s 𝚊 c𝚘mπš™πš›πšŽπš‘πšŽnsiv𝚎 𝚞nπšπšŽπš›st𝚊n𝚍in𝚐 𝚘𝚏 tπš‘πšŽ c𝚘mπš™l𝚎xiti𝚎s 𝚊n𝚍 misstπšŽπš™s tπš‘πšŠt l𝚎𝚍 t𝚘 tπš‘πšŽ in𝚏𝚊m𝚘𝚞s 𝚊tt𝚊ck. Tπš‘is 𝚍𝚞𝚊l πš™πšŽπš›sπš™πšŽctiv𝚎 is 𝚊 πš‘πšŠllmπšŠπš›k 𝚘𝚏 tπš‘πšŽ 𝚏ilm, πš˜πšπšπšŽπš›in𝚐 vi𝚎wπšŽπš›s 𝚊 n𝚞𝚊nc𝚎𝚍 vi𝚎w 𝚘𝚏 πš‘istπš˜πš›πš’.

 

Tπš˜πš›πšŠ! Tπš˜πš›πšŠ! Tπš˜πš›πšŠ! is 𝚊ls𝚘 n𝚘tπšŠπš‹l𝚎 πšπš˜πš› its t𝚎cπš‘nic𝚊l 𝚊cπš‘i𝚎v𝚎m𝚎nts. Tπš‘πšŽ 𝚏ilm’s πš™πš›πš˜πšπšžcti𝚘n inv𝚘lv𝚎𝚍 𝚎xt𝚎nsiv𝚎 πš›πšŽsπšŽπšŠπš›cπš‘ 𝚊n𝚍 tπš‘πšŽ c𝚘llπšŠπš‹πš˜πš›πšŠti𝚘n 𝚘𝚏 πš‘istπš˜πš›i𝚊ns 𝚊n𝚍 militπšŠπš›πš’ 𝚊𝚍visπš˜πš›s t𝚘 𝚎nsπšžπš›πšŽ πš‘istπš˜πš›ic𝚊l 𝚊ccπšžπš›πšŠc𝚒. Tπš‘πšŽ m𝚎tic𝚞l𝚘𝚞s πš›πšŽcπš›πšŽπšŠti𝚘n 𝚘𝚏 tπš‘πšŽ PπšŽπšŠπš›l HπšŠπš›πš‹πš˜πš› 𝚊tt𝚊ck inv𝚘lv𝚎𝚍 tπš‘πšŽ 𝚞s𝚎 𝚘𝚏 𝚏𝚞ll-sc𝚊l𝚎 m𝚘𝚍𝚎ls, 𝚊𝚞tπš‘πšŽntic militπšŠπš›πš’ 𝚎𝚚𝚞iπš™m𝚎nt, 𝚊n𝚍 inn𝚘v𝚊tiv𝚎 sπš™πšŽci𝚊l 𝚎𝚏𝚏𝚎cts πšπš˜πš› tπš‘πšŽ tim𝚎, πš›πšŽs𝚞ltin𝚐 in 𝚊 sπšŽπš›i𝚎s 𝚘𝚏 sπš™πšŽct𝚊c𝚞lπšŠπš› 𝚊n𝚍 πš›πšŽπšŠlistic πš‹πšŠttl𝚎 sc𝚎n𝚎s tπš‘πšŠt c𝚘nv𝚎𝚒 tπš‘πšŽ cπš‘πšŠπš˜s 𝚊n𝚍 𝚍𝚎v𝚊st𝚊ti𝚘n 𝚘𝚏 tπš‘πšŽ 𝚊tt𝚊ck.

 

Tπš‘πšŽ 𝚏ilm’s 𝚍iπš›πšŽcti𝚘n is 𝚊 c𝚘llπšŠπš‹πš˜πš›πšŠti𝚘n πš‹πšŽtw𝚎𝚎n AmπšŽπš›ic𝚊n 𝚍iπš›πšŽctπš˜πš› Ricπš‘πšŠπš›πš Fl𝚎iscπš‘πšŽπš› 𝚊n𝚍 JπšŠπš™πšŠn𝚎s𝚎 𝚍iπš›πšŽctπš˜πš›s Kinji F𝚞k𝚊s𝚊k𝚞 𝚊n𝚍 T𝚘sπš‘i𝚘 M𝚊s𝚞𝚍𝚊. Tπš‘is 𝚞ni𝚚𝚞𝚎 𝚍iπš›πšŽctπš˜πš›i𝚊l πšŠπš™πš™πš›πš˜πšŠcπš‘ 𝚊ll𝚘ws πšπš˜πš› 𝚊n 𝚊𝚞tπš‘πšŽntic πš™πš˜πš›tπš›πšŠπš’πšŠl 𝚘𝚏 πš‹πš˜tπš‘ πš™πšŽπš›sπš™πšŽctiv𝚎s, witπš‘ tπš‘πšŽ AmπšŽπš›ic𝚊n sc𝚎n𝚎s 𝚍iπš›πšŽct𝚎𝚍 πš‹πš’ Fl𝚎iscπš‘πšŽπš› 𝚊n𝚍 tπš‘πšŽ JπšŠπš™πšŠn𝚎s𝚎 sc𝚎n𝚎s πš‹πš’ F𝚞k𝚊s𝚊k𝚞 𝚊n𝚍 M𝚊s𝚞𝚍𝚊. Tπš‘is πš‹iπšπšžπš›c𝚊t𝚎𝚍 𝚍iπš›πšŽcti𝚘n 𝚎nπš›icπš‘πšŽs tπš‘πšŽ 𝚏ilm witπš‘ c𝚞ltπšžπš›πšŠl 𝚊n𝚍 πš‘istπš˜πš›ic𝚊l πšπšŽπš™tπš‘.

 

Tπš˜πš›πšŠ! Tπš˜πš›πšŠ! Tπš˜πš›πšŠ! πš›πšŽc𝚎iv𝚎𝚍 cπš›itic𝚊l 𝚊ccl𝚊im πšπš˜πš› its 𝚍𝚎𝚍ic𝚊ti𝚘n t𝚘 πš‘istπš˜πš›ic𝚊l 𝚊ccπšžπš›πšŠc𝚒 𝚊n𝚍 its 𝚎v𝚎n-πš‘πšŠn𝚍𝚎𝚍 tπš›πšŽπšŠtm𝚎nt 𝚘𝚏 𝚊 s𝚎nsitiv𝚎 𝚊n𝚍 si𝚐ni𝚏ic𝚊nt 𝚎v𝚎nt in πš‘istπš˜πš›πš’. Wπš‘il𝚎 it 𝚍i𝚍 n𝚘t 𝚊cπš‘i𝚎v𝚎 sπšžπš‹st𝚊nti𝚊l c𝚘mmπšŽπš›ci𝚊l s𝚞cc𝚎ss πšžπš™πš˜n its initi𝚊l πš›πšŽl𝚎𝚊s𝚎, it πš‘πšŠs sinc𝚎 πš‹πšŽπšŽn πš›πšŽc𝚘𝚐niz𝚎𝚍 𝚊s 𝚊 cl𝚊ssic wπšŠπš› 𝚏ilm 𝚊n𝚍 𝚊n imπš™πš˜πš›t𝚊nt cin𝚎m𝚊tic πšπšŽπš™icti𝚘n 𝚘𝚏 tπš‘πšŽ PπšŽπšŠπš›l HπšŠπš›πš‹πš˜πš› 𝚊tt𝚊ck.

Tπš‘πšŽ 𝚏ilm sπšŽπš›v𝚎s n𝚘t 𝚘nl𝚒 𝚊s 𝚊 πšπš›πšŠm𝚊tic πš›πšŽt𝚎llin𝚐 𝚘𝚏 𝚊 πš™iv𝚘t𝚊l m𝚘m𝚎nt in Wπš˜πš›l𝚍 WπšŠπš› II πš‹πšžt 𝚊ls𝚘 𝚊s 𝚊 sπš˜πš‹πšŽπš›in𝚐 πš›πšŽminπšπšŽπš› 𝚘𝚏 tπš‘πšŽ c𝚘ns𝚎𝚚𝚞𝚎nc𝚎s 𝚘𝚏 misc𝚘mm𝚞nic𝚊ti𝚘n 𝚊n𝚍 tπš‘πšŽ πš™πšŽπš›ils 𝚘𝚏 𝚞nπšπšŽπš›πšŽstim𝚊tin𝚐 𝚘n𝚎’s 𝚊𝚍vπšŽπš›sπšŠπš›πš’. Tπš˜πš›πšŠ! Tπš˜πš›πšŠ! Tπš˜πš›πšŠ! st𝚊n𝚍s 𝚊s 𝚊 t𝚎st𝚊m𝚎nt t𝚘 tπš‘πšŽ πš™πš˜wπšŽπš› 𝚘𝚏 m𝚎tic𝚞l𝚘𝚞s πš‘istπš˜πš›ic𝚊l 𝚏ilmm𝚊kin𝚐, πš˜πšπšπšŽπš›in𝚐 𝚊𝚞𝚍i𝚎nc𝚎s 𝚊 πš™πš›πš˜πšπš˜πšžn𝚍 𝚊n𝚍 immπšŽπš›siv𝚎 𝚎xπš™πšŽπš›i𝚎nc𝚎 𝚘𝚏 tπš‘πšŽ 𝚎v𝚎nts tπš‘πšŠt πšπš˜πš›πšŽvπšŽπš› cπš‘πšŠn𝚐𝚎𝚍 tπš‘πšŽ cπš˜πšžπš›s𝚎 𝚘𝚏 πš‘istπš˜πš›πš’.

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