Above all, it’s a remarkable display of camerawork to smoothly capture flight. And we can appreciate the American pilots’ nationalist fervor, I think, in shooting down the Zeros that their fathers may have taken aim at themselves. We can appreciate the Japanese pilots’ hearts falling into their stomachs when they see a plane which may as well be a flying saucer for all its advantages. An F-14 is almost seven times longer than a Zero, has a wingspan five times longer, weighs ten times more. Apart from the technical superiority of an F-14, what stands out about this scene is how much bigger a Tomcat is than a Zero. But what stands out in this sequence is the wonderful cognitive dissonance of the visuals as opposed to anything dealing with plot or, less than that, character. After fooling around a little, they take fire from the Zeros, and only then does Yelland (Douglas) give the order for his F-14s to “splash” the enemy they do it quickly and efficiently. They are hamstrung by the commands from the USS Nimitz, but when they see that the Zeros are after the survivors as well, the Tomcats fly in and run interference for the survivors in the water. While this has been going on, two F-14s from 1980 observe it from a distance.

Their mission is to destroy anything which might carry a radio able to report on the presence of the Japanese military this close to American territory, and after sizing up the yacht, the Zeros destroy it. senator, his secretary, a friend, some crew, and a mercifully invulnerable dog is spotted by a pair of Zeros running an armed reconaissance for the fleet behind it. A yacht out on a pleasure cruise, carrying a U.S.

Movie aircraft carrier back in time