and the Production Code office, as well as the critiques of film reviewers, historians and militaryfigures from both sides of the raging island and jungle fighting. Equally interesting, Bobexamines the behind-the-scenes machinations from both the Japanese and Americangovernments in the censorship of controversial film content. He certainly knows what he’swriting about not only because of being an actor and comedian, but also because he writesboth fiction and non-fiction. He lives in Brooklyn. Both the bibliography and chapter notes hinthow brilliant the author is. Recipient of “Imperial Japan on Screen, 1931 -2022”, will not only besurprised by the splendid choice, but also by the savviness of the giver. Readers, this is a darn
good read.
