WEBVTT
X-TIMESTAMP-MAP=LOCAL:00:00:00.000,MPEGTS:0

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(male) Major funding for this
program has been provided

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by the National Endowment
for the Humanities.

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Exploring the human endeavor.

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(female broadcaster) The new year began...

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(female) Today it\'s commonplace
for women to report wars.

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Before World War II women were
shut out for the most part.

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But you always had a few
brave, resolute souls

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who wanted to go forth and cover
war, just like men.

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(female narrator) During World War
II the United States Government

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accredited nearly 140
women war correspondents.

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But there was a catch.

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1943, wire service reporter Ruth
Cowan, 42 years old.

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After years of dutifully reporting stories

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destined for the women\'s pages,

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she became the first woman reporter

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to be accredited to the US Army.

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Cowan wanted to bear witness
to history in the making.

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In North Africa, where women correspondents

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were barred from using army jeeps,

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Cowan was almost killed

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hitching a ride during an army retreat.

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1944, magazine reporter

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Martha Gellhorn, 36 years old,

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experienced war correspondent
and acclaimed author.

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She believed exposing the horrors of war

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could change the course of history.

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Gellhorn was one of the only
reporters, male or female,

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to make it ashore during
the D-Day invasion,

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where women reporters
were officially banned.

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She was arrested and
stripped of her credentials.

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1945, photographer Dickey
Chapelle, 25 years old.

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Young and adventurous,
Chapelle was determined

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to report the story of
war from the front line.

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Assigned aboard a hospital
ship in the Pacific,

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Chapelle talked her way onto Okinawa,

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attempting to photograph
action at the front.

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She was taken into custody
and sent home in disgrace.

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(female) War was man\'s territory.

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A woman breaking in to the
male turf was unheard of.

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It just sort of shocked people.

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Women choosing to be in the
middle of violent confrontation

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that involves mud and weaponry and blood,

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that\'s not where women are supposed to be.

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(narrator) The restrictions
on women reporters

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forced them to look elsewhere
for the story of war.

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(female) In the process of doing
it, they created a new war story.

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It was not just a battlefield story

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and men telling the story.

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They changed the notion of
what the war story could be

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and what, in fact, it was.

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(female) For the war
correspondents of World War II

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the gender gap was so much bigger

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than it is for us.

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And they were fighting such
a bigger battle than we are.

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It was different for them,
the women of World War II.

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(narrator) In 1929, reporter Baldwin Cowan

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was having a good reporting
year in San Antonio, Texas.

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Cowan wired in stories about local politics

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to the offices of the United Press.

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The UP thought, \"Boy,
this guy is great, really prolific.\"

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The UP executives went to the
state\'s political convention

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and there was Baldwin Cowan,
this blonde young woman.

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Fired her on the spot.

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Just because she was female,
regardless of her great job.

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(narrator) Baldwin Cowan
was Ruth Baldwin Cowan,

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a 28-year-old reporter.

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Orphaned from the age of 12,

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she had learned to fight for herself.

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Undaunted by being
fired, she wrote a letter

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to their competition, The Associated Press:

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\"First of all, I\'m a girl.

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\"I snore at women\'s luncheons.

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\"But I have no objections to exploiting

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\"the women\'s angle in any field.

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\"But I like murders, politics, gang wars,

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and plenty of action.\"

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(narrator) Immediately hired by
The Associated Press in Chicago,

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Cowan thought her assignment
would be local politics.

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But because she was a woman,

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she was given a different assignment.

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(male announcer) Women find it difficult

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to compete with men in reporting jobs.

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So, girls who want to be
successful in journalism

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should prepare for work in the
special women\'s department.

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(female) Most women worked
for women\'s sections.

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The women\'s pages were
not considered places

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for serious reporting.

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They were considered places
for sort of a fluffy,

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inconsequential stuff...

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what you might call the four Fs...

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Fashion, food, furniture, and family.

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Ruth Cowan covered the kinds of stories

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that were assigned to women reporters.

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\"Here\'s an idea that will
give a new lease on life

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\"to those plain black silk
crepe or solid wool frocks

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\"that seem weary from a long winter\'s wear.

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A huge organdy bow measuring a foot.\"

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(male) She realized that
was her meal ticket.

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She also realized that was
only part of the story.

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In some ways it could be a
demeaning part of the story.

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She\'s troubled and struggles with that.

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(narrator) Cowan made repeated requests
to be transferred to Washington,

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where she would have access
to more serious stories.

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In 1940, her persistence paid off.

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December 7,
1941 was a quiet Sunday afternoon

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at the Washington bureau
of The Associated Press.

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Sunday mornings in newsrooms
are typically dead time.

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And so there\'d be almost
no reporters or editors

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in a wire service or radio newsroom.

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There might be one person there
probably just to make sure

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that the world didn\'t blow up.

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(narrator) Ruth Cowan
was covering a luncheon

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for the wife of a visiting ambassador

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when the century\'s biggest story broke.

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When an operator calls a
newsroom to say, \"Stand by

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for the press secretary for
Franklin Delano Roosevelt,\"

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you know something monumental,

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especially on a Sunday
morning, is about to happen.

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(narrator) From the AP,
news went out over the wire

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to newsrooms across the country.

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[male announcer] We interrupt this
program to bring special news.

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The Japanese have attacked Pearl
Harbor, Hawaii by air,

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President Roosevelt has just announced.

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(narrator) Among the Americans
transfixed by the news

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coming out of their radio,
was aspiring photographer

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and aviation enthusiast, Dickey Chapelle.

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She was living in New York
City when she heard the news.

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She was, of course, horrified,
as all Americans were.

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And she wanted to do something about it.

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She wanted to help.

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(narrator) Adventurous and ambitious,

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Chapelle began contacting
editors with story ideas

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to jumpstart her news photography career.

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Veteran war reporter Martha
Gellhorn and her husband,

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novelist and journalist Ernest Hemingway,

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were on vacation.

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\"We were drinking daiquiris
in a dingy little bar

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\"on the Mexican border.

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\"A tattered child came
in with some newspapers

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\"and said, \'La Guerra, la Guerra.\'

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\"Smeary type announced Pearl Harbor

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and America\'s declaration of war.\"

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(female) Martha\'s immediate reaction was,

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as it always would be,

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\"I must get out there and start covering it

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and do something.\"

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His reaction was, \"Let\'s settle down

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and set this out and do nothing.\"

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And really on that day,
in a sense, was born

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what, I think,
would bring their marriage to an end.

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(narrator) Back in Washington,
the night of the Pearl Harbor attacks,

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Ruth Cowan headed over to
the National Press Club

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along with all the other reporters.

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The club, like the field
of journalism itself,

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was segregated.

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Cowan and her female
colleagues were only allowed

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in the ladies\' dining room.

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\"There was a tenseness in the air,

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\"as throughout all America.

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\"I listened to the shop talk.

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\"This war is going to last
longer than people think.

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\"Suddenly, covering the women\'s
angle in Washington for the AP

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\"became to me not enough.

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\"I leaned forward to the
girl with whom I dined,

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\"\'Let\'s go to war.

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Why can\'t we be women war correspondents?\'\"

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To fight such a major world war,

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that means that women as mothers and wives

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and sisters and girlfriends
had to be persuaded

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that it was their war too.

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So, the government had a very
deliberate, thought-out plan,

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complete with media support,

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to persuade thousands of women

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to take factory jobs to support the war.

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(narrator) That became
Cowan\'s next assignment.

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Not reporting on the war,

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reporting on the mobilization of women:

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\"What about the farm wife, the housewives

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\"in large cities and at cross corners,

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\"the homebodies, the older women?

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\"What are they doing to help win the war?

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Plenty.\"

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(female) Cowan is dying to
get involved in war coverage

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and to be where the action
is, like any good reporter.

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She asks management to send
her to the London bureau.

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There\'s no women over
there for AP at the time.

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And they say, \"No,
war is not the woman\'s angle.

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It\'s not your job, it\'s a man\'s story.\"

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(narrator) While the woman\'s story
was becoming tiresome for Cowan,

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a younger reporter was
reporting women\'s new roles.

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Dickey Chapelle was just 22 years old

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and had been passionate about aviation

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since her childhood in Milwaukee,

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when aviation pioneer Admiral Richard
Byrd, Dickey Byrd,

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attempted the first flight
over the North Pole.

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Aviation in her childhood
is what computers became,

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in another age, to young people.

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Aviation was the new frontier.

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And Dickey wanted to be at that frontier.

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(narrator) Born Georgette Louise,
she was so intrigued by Byrd

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that she changed her name to Dickey.

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When her eyesight
prevented her from becoming

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a pilot herself,
she hitched rides on planes

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and reported about the experience:

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\"We go up to 10,000 feet.

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\"I want to yell, \'This is it!

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\"\'Now we\'ll find out if a girl can dive

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\"seven miles a minute and live.\'

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\"I hold my breath, the engine roars.

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\"Going 70 miles an hour.

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Maybe I have traveled faster
than any other woman.\"

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(female) She was taken with
the idea of defying gravity.

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And in some ways, all of Dickey\'s life

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was about defying gravity
and defying tradition.

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(narrator) And defying barriers.

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At 16, she was one of the
first women to go to MIT.

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But engineering held none
of the allure of flying.

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She studied photography,
married her teacher.

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And became one of the first
women news photographers

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using her aviation knowledge
to sell stories to editors.

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[upbeat march music playing]

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(female) As the war progressed,
the government realized

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that they would have to
use more and more women,

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not just in the civilian labor force,

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but also as members of
the uniformed military.

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Because it takes a lot of
administering to wage a war.

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You know, you can\'t fight
a war without secretaries.

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You can\'t fight a war without
communication specialists,

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code breakers, signal corps operatives,

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and without nurses.

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(female #2) For Cowan, everything changes

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with the creation of the WAACs,
a women\'s auxiliary corps.

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These are women, for the first time,

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would be in the military.

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That\'s one reason it\'s so
important for women journalists

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is because suddenly AP decides
these are women soldiers.

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We need a woman to report on it.

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(narrator) Deployment of the Women\'s
Army Corp gave Cowan her break.

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Following the WAACs overseas,
finally she was a war reporter.

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But another woman would
get all of the fanfare.

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(female) Life Magazinedescribed
Margaret Bourke-White

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as America\'s first girl war reporter.

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Of course, she wasn\'t,
but it was part ofLife\'smarketing

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of its own person.

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Life Magazinewas practically
an arm of the US Government.

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Their contribution,
in terms of woman power,

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was to have Margaret Bourke-White,

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who was one of the most
celebrated journalists

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of the World War II era.

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She was the model for the uniform

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that was designed for women correspondents.

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(female) It all comes
together for Dickey Chapelle

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when she sees Margaret Bourke-White.

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War intrigues Dickey,
aviation intrigues Dickey,

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and photography intrigues Dickey.

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Margaret Bourke-White becomes a
model for Dickey, a role model.

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(narrator) Margaret
Bourke-White made becoming

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a female war correspondent look easy.

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Other ambitious women reporters

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would find the path more complicated.

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January, 1942.

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Martha Gellhorn was already
an experienced journalist.

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She lived at the Finca,
her home in the hills

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outside of Havana, Cuba, with Hemingway.

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Gellhorn grew up in St.
Louis in a privileged home.

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Her mother was a
suffragette and good friends

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with Eleanor Roosevelt.

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After college, she went to Paris to write.

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And to see the world.

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(female) Martha was, in a
way, a natural writer.

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When she began writing,
I think she discovered

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in herself,
a longing to describe what can happen

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to people and how people
survive bad things.

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[clamoring]

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By 1936, when the Spanish
Civil War broke out,

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Gellhorn had already published warnings

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of the danger of the rise
of fascism in Europe.

15:16.300 --> 15:20.174
Among the nearly 35,000
people from 50 nations

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who went to Spain to fight fascism,

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were many writers and journalists,

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including Hemingway.

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He and Gellhorn had recently met

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in Key West and fallen in love.

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He wrote Gellhorn to join him in Spain.

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(female) She wanted to go too
because she thought it sounded fun.

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Somebody said, \"What are you doing?\"

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She said, \"I don\'t know what I\'m doing

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but I\'m going with the boys again.\"

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(narrator) Conventional war reporting,

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originally told from the
soldier\'s perspective,

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had focused on the front
line, the plans of generals,

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the battle and its outcome,
and the arsenal of warfare.

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You want to give your account of tactics...

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Where you advanced, where you fell back,

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how strategy\'s changed as you
fight this particular battle.

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When it\'s over, you put it in perspective.

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You want to talk about
strategical objectives,

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such as rivers or railroads or cities.

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That was the big-picture kind of reporting.

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[explosions]

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(narrator) Gellhorn had a
different idea of the story of war.

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(female) Martha wanted to write,
not about how war is conducted,

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but about its affect on people:

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\"An old woman with a
shawl over her shoulders

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\"holding a terrified,
thin little boy by the hand

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\"runs out into the square.

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\"You know what she\'s thinking.

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\"She is thinking she
must get the child home.

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\"You are always safer in your own place.

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\"She is in the middle of the
square when the next one comes.

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\"A small piece of twisted
steel, hot and very sharp,

17:00.299 --> 17:02.298
\"sprays off from the shell.

17:02.299 --> 17:05.424
\"It takes the little boy in the throat.

17:05.425 --> 17:08.049
\"The old woman stands
there holding the hand

17:08.050 --> 17:11.464
\"of the dead child,
looking at him stupidly,

17:11.465 --> 17:14.298
not saying anything.\"

17:14.299 --> 17:17.632
(female) I think her difference,
what makes her stand out,

17:17.633 --> 17:21.924
is she wrote about the effects
of war on ordinary people

17:21.925 --> 17:27.298
before it was seen to be
the job of journalism.

17:27.299 --> 17:31.340
When she began in Spain,
writing these pieces

17:31.341 --> 17:34.298
about what war did to individual people,

17:34.299 --> 17:37.299
she was far ahead of her time:

17:38.425 --> 17:40.716
\"We knew, we just knew

17:40.717 --> 17:44.298
\"that Spain was the place to stop fascism.

17:44.299 --> 17:45.299
\"This was it.

17:45.300 --> 17:48.298
\"It was one of those moments in history

17:48.299 --> 17:50.382
when there was no doubt.\"

17:50.383 --> 17:52.424
(female) She never got over it.

17:52.425 --> 17:55.298
She always felt that it was something

17:55.299 --> 17:57.590
that really should have been prevented,

17:57.591 --> 17:59.298
could have been prevented.

17:59.299 --> 18:03.591
And then, of course,
it led to World War II.

18:04.883 --> 18:07.841
(female) When I started
as a war correspondent

18:07.842 --> 18:10.465
I thought that war was all about,

18:10.466 --> 18:14.298
what we call, the \"bang-bang,\"
the shooting at the stuff

18:14.299 --> 18:16.757
that lights the sky, but it\'s not.

18:16.758 --> 18:18.799
It\'s the disruption of lives.

18:18.800 --> 18:21.590
It\'s the aftermath,
what we call \"the spillover.\"

18:21.591 --> 18:25.424
And as often as not,
it leads to the next war.

18:25.425 --> 18:27.590
It\'s why it\'s important to cover it.

18:27.591 --> 18:30.882
You won\'t understand where
the next war came from

18:30.883 --> 18:33.174
unless you understand the destruction

18:33.175 --> 18:38.465
of people\'s lives in the
one that went before.

18:38.466 --> 18:40.674
Martha Gellhorn had it right.

18:40.675 --> 18:44.841
I think that is what war
reporting is all about.

18:44.842 --> 18:48.799
(narrator) For the next three
years that is what Gellhorn did.

18:48.800 --> 18:51.674
As Hitler\'s armies invaded
countries across Europe,

18:51.675 --> 18:55.549
she continued to warn Americans
about the threat of fascism

18:55.550 --> 18:59.298
in the aftermath of the Spanish Civil War.

18:59.299 --> 19:03.549
By 1942, she had traveled
the globe covering war.

19:03.550 --> 19:05.298
Sometimes with Hemingway at her side,

19:05.299 --> 19:08.298
and always with a letter
from President Roosevelt,

19:08.299 --> 19:12.508
granting her access to
wherever she wanted to go.

19:16.299 --> 19:20.425
She was a featured reporter
forCollier\'s Magazine.

19:31.800 --> 19:35.632
Back at home in Cuba,
Martha Gellhorn\'s life was far removed

19:35.633 --> 19:39.340
from the destruction she had
witnessed during her reporting.

19:39.341 --> 19:41.967
And a much needed relief.

19:42.383 --> 19:44.382
Nevertheless, she listened intently

19:44.383 --> 19:47.298
to the news of the war on the radio.

19:47.299 --> 19:51.507
Martha wanted to have the
news on and Hemingway didn\'t.

19:51.508 --> 19:55.298
Martha was saying,
\"We need to get back to Europe

19:55.299 --> 19:56.757
and start writing about this.\"

19:56.758 --> 20:00.299
(female) But at the same
time she was thinking,

20:00.300 --> 20:03.799
\"Okay, I\'ve really got to
make this marriage work.\"

20:03.800 --> 20:07.424
And maybe she still thought they
might have a child together.

20:07.425 --> 20:11.757
And he just felt,
\"I want my hunting, my fishing,

20:11.758 --> 20:13.882
and to write novels.\"

20:13.883 --> 20:15.424
(narrator) With Hemingway\'s encouragement,

20:15.425 --> 20:19.091
Gellhorn wrote to herCollier\'s
Magazineeditor Charles Colbaugh

20:19.092 --> 20:22.298
that she wanted a war
reporting assignment in Europe.

20:22.299 --> 20:27.507
He said, \"You can\'t,
we can\'t send you to the front line.\"

20:27.508 --> 20:29.008
Because there could be no women.

20:29.009 --> 20:32.549
(narrator) Now that the United
States was officially at war,

20:32.550 --> 20:35.174
the American military
would restrict Gellhorn

20:35.175 --> 20:36.716
because she was a woman,

20:36.717 --> 20:39.674
and despite being a seasoned war reporter:

20:39.675 --> 20:43.966
\"Dear Charles, as you
say, it is really too late

20:43.967 --> 20:45.590
\"to do anything about my sex.

20:45.591 --> 20:48.632
\"That is a handicap I
have been struggling under

20:48.633 --> 20:50.340
\"since I was five years old.

20:50.341 --> 20:54.674
\"And I shall just forge ahead bravely.

20:54.675 --> 20:55.841
Despite the army.\"

20:55.842 --> 20:59.216
(female) Women were not allowed
anywhere near the battlefield.

20:59.217 --> 21:03.298
They were not allowed to
cover press briefings at all.

21:03.299 --> 21:05.924
Women who did, did it at the risk

21:05.925 --> 21:09.799
of losing accreditation or being sent home,

21:09.800 --> 21:12.133
or even possibly being court-martialed.

21:12.134 --> 21:14.590
There was a chauvinistic
attitude that women

21:14.591 --> 21:16.549
would break down seeing combat.

21:16.550 --> 21:19.382
They didn\'t want to be
responsible for that.

21:19.383 --> 21:21.340
Covering war is not women\'s work.

21:21.341 --> 21:26.049
Another is that soldiers,
if they were aware

21:26.050 --> 21:29.966
of the presence of a woman
reporter in a combat zone,

21:29.967 --> 21:32.882
would go out of their way to protect her,

21:32.883 --> 21:35.549
perhaps at the expense of their own lives.

21:35.550 --> 21:40.174
And then the last one is,
women couldn\'t go into combat

21:40.175 --> 21:42.757
because there were no facilities for women.

21:42.758 --> 21:44.133
There were no toilets.

21:44.134 --> 21:46.924
(narrator) Eager for
credentials as a war reporter,

21:46.925 --> 21:50.133
Dickey Chapelle met with
US Army press officer

21:50.134 --> 21:51.799
Colonel Ernest Dupuy.

21:51.800 --> 21:54.507
(female) Colonel Dupuy
had only one question:

21:54.508 --> 21:56.465
\"I presume you realize, Mrs. Chapelle,

21:56.466 --> 22:00.799
that troops in the field have
no facilities for women?\"

22:00.800 --> 22:02.133
\"I not only fail to realize it,

22:02.134 --> 22:04.882
\"I\'d never even given
it a minute\'s thought.

22:04.883 --> 22:09.091
\"\'Colonel, \' I said earnestly,
\'I\'m sure the 14th infantry

22:09.092 --> 22:10.716
\"\'has solved much tougher
problems than that.

22:10.717 --> 22:15.883
And they\'ll probably think of
a way to lick this one too.\'\"

22:16.383 --> 22:20.299
(narrator) Two months later,
Chapelle was on an unarmed freighter

22:20.300 --> 22:23.341
headed to Panama forLook Magazine.

22:24.299 --> 22:27.298
Suddenly she spotted a
submarine\'s periscope.

22:27.299 --> 22:30.507
(female) The waters,
of course, in that region,

22:30.508 --> 22:32.465
were mined by German submarines.

22:32.466 --> 22:37.757
And so, she had hoped for
this story of great action.

22:37.758 --> 22:41.049
(narrator) Her vision of a
dramatic front-page news story

22:41.050 --> 22:44.298
disappeared underwater with the periscope.

22:44.299 --> 22:46.966
A week later, Chapelle was in Panama.

22:46.967 --> 22:49.841
(male) She\'s covering the Bushmasters,

22:49.842 --> 22:52.882
which is this elite
team of jungle fighters.

22:52.883 --> 22:54.757
They\'re training in Panama because

22:54.758 --> 22:57.298
the jungle is lush, thick and green.

22:57.299 --> 23:00.049
The thinking is, \"If they can handle that,

23:00.050 --> 23:03.424
they can handle anything in the Pacific.

23:03.425 --> 23:05.757
(narrator) Chapelle
took hundreds of photos,

23:05.758 --> 23:07.966
slogging with the troops through mud

23:07.967 --> 23:10.174
and the heat of the jungle.

23:10.175 --> 23:12.298
She was photographing soldiers.

23:12.299 --> 23:14.882
But she was an ocean away from the war.

23:14.883 --> 23:19.298
(male) Panama would not be
much of a blood and guts story.

23:19.299 --> 23:23.174
It\'s all training, it\'s not combat.

23:23.175 --> 23:24.882
She\'s in a backwater.

23:24.883 --> 23:27.258
There\'s nothing there that will be

23:27.259 --> 23:29.298
as newsworthy as combat itself.

23:29.299 --> 23:30.465
So, it\'s not a story.

23:30.466 --> 23:34.298
(narrator) From Panama she
repeatedly sentLook Magazine

23:34.299 --> 23:36.049
her photos and stories.

23:36.050 --> 23:37.674
They chose not to publish them.

23:37.675 --> 23:41.716
Confined to the rear areas,
she would never get the big story.

23:41.717 --> 23:46.842
Without a big story,
she would get no interest from editors.

23:47.508 --> 23:49.299
While Chapelle was stuck in Panama,

23:49.300 --> 23:52.133
Margaret Bourke-White
was in the news again.

23:52.134 --> 23:54.382
Bourke-White had the
backing of a media giant

23:54.383 --> 23:59.049
and the knack of being in the
right place at the right time.

23:59.050 --> 24:02.258
Margaret Bourke-White gets
orders to go to North Africa.

24:02.259 --> 24:05.507
She was originally
supposed to go on a plane.

24:05.508 --> 24:08.882
But the War Department
said, \"No, we\'re not going

24:08.883 --> 24:11.716
\"to put women where they
could get shot down.

24:11.717 --> 24:16.175
We\'re going to put them in a
nice, big boat.\"

24:19.633 --> 24:23.217
The boat that she\'s on gets torpedoed.

24:24.259 --> 24:28.549
(female) She got a much better
story out of being in the boat

24:28.550 --> 24:34.341
that\'s torpedoed than if she\'d
gone on the plane with the men.

24:34.842 --> 24:39.008
(narrator) Chapelle returned to
the states a few months later.

24:39.009 --> 24:41.216
She had no torpedo story to tell

24:41.217 --> 24:44.757
and hundreds of unpublished photographs.

24:44.758 --> 24:48.298
Chapelle wrote to herLook
Magazineeditor Daniel Mich:

24:48.299 --> 24:51.091
\"If you all have been reading
Margaret Bourke-White\'s

24:51.092 --> 24:52.966
\"publicity recently, you might like to know

24:52.967 --> 24:58.549
thatLook\'sGirl Friday was in
uniform before Margaret was.\"

24:58.550 --> 25:01.216
[patriotic march playing]

25:01.217 --> 25:05.258
(narrator) January 1943
marked an unprecedented event

25:05.259 --> 25:06.340
in American history.

25:06.341 --> 25:09.632
The United States military was
sending the first companies

25:09.633 --> 25:13.674
of women\'s army corps
overseas to a war zone.

25:13.675 --> 25:16.133
On board were two women war reporters,

25:16.134 --> 25:19.008
Inez Robb of the International News Service

25:19.009 --> 25:21.716
and Ruth Cowan of The Associated Press.

25:21.717 --> 25:24.298
Cowan\'s assignment was
to report on the WAACs.

25:24.299 --> 25:28.465
But she also hoped to witness
and report on the action.

25:28.466 --> 25:32.507
(female) She\'s excited to be with
the WAACs, she\'s covered them.

25:32.508 --> 25:35.799
They don\'t know where they\'re
going, it\'s a secret.

25:35.800 --> 25:38.258
She\'s been told to pack long underwear.

25:38.259 --> 25:41.841
They know from the start
it\'s going to be tough.

25:41.842 --> 25:43.424
(male) At the last minute

25:43.425 --> 25:46.465
General Eisenhower wanted
them in North Africa

25:46.466 --> 25:49.216
to take on clerical jobs and other work

25:49.217 --> 25:52.298
that would free men to go to the front.

25:52.299 --> 25:55.298
(narrator) By early 1943, the United States

25:55.299 --> 25:58.298
had taken its first steps
militarily into the war,

25:58.299 --> 26:02.298
joining British troops to fight
the Nazis in North Africa.

26:02.299 --> 26:04.966
(male) When Ruth Cowan
arrives in North Africa

26:04.967 --> 26:07.799
she considers herself to be
a professional correspondent

26:07.800 --> 26:11.298
for the world\'s largest and
important news organizations.

26:11.299 --> 26:13.298
She probably says to herself,

26:13.299 --> 26:15.008
\"I\'m here, let me help.\"

26:15.009 --> 26:17.298
(narrator) Wes Gallagher was her new boss

26:17.299 --> 26:20.258
and the West Africa
bureau chief for the AP.

26:20.259 --> 26:23.716
Gallagher takes one look
at her and basically says,

26:23.717 --> 26:26.298
\"I want you out, I\'m sending you back.

26:26.299 --> 26:31.465
We don\'t need to worry about
protecting some woman.\"

26:31.466 --> 26:35.298
Wes Gallagher is a product of his time,

26:35.299 --> 26:37.258
where women belong in the home.

26:37.259 --> 26:41.298
He just believed that she was
incapable of doing the job.

26:41.299 --> 26:44.298
To him and to many
people of his generation,

26:44.299 --> 26:47.298
a woman\'s place is not on the battlefield.

26:47.299 --> 26:48.924
That\'s a man\'s place.

26:48.925 --> 26:52.966
He set it up so she
wouldn\'t have as much access

26:52.967 --> 26:56.298
to the kinds of stories she wants to get.

26:56.299 --> 26:58.757
(female) He shuns her, won\'t talk to her.

26:58.758 --> 27:03.174
He forbids her from using the
facilities to file stories.

27:03.175 --> 27:06.298
She also has to fight the
army, the American army

27:06.299 --> 27:10.590
because the general says, one,
you can\'t go into the canteens,

27:10.591 --> 27:14.091
two, you can\'t use any
of our transportation.

27:14.092 --> 27:18.174
Other reporters would ride out
in jeeps and have protection.

27:18.175 --> 27:19.465
\"You can\'t do that.\"

27:19.466 --> 27:22.924
So, it was really an
impossible situation to work.

27:22.925 --> 27:24.799
(narrator) With no institutional support,

27:24.800 --> 27:28.507
Cowan put her head down and
focused on her assignment,

27:28.508 --> 27:31.091
churning out daily wire service reports.

27:31.092 --> 27:34.133
(female) As a war reporter,
she was always looking

27:34.134 --> 27:38.091
for the woman\'s angle in
everything that she wrote.

27:38.092 --> 27:40.008
Because of her wire service background,

27:40.009 --> 27:43.298
she\'s looking for things
she can turn around fast.

27:43.299 --> 27:44.716
She\'s always looking for colors.

27:44.717 --> 27:48.799
She\'s conscious that families
back home would read stories.

27:48.800 --> 27:52.049
She would add the names and hometowns

27:52.050 --> 27:55.258
of the different soldiers
that she spoke with.

27:55.259 --> 27:57.091
(narrator) Weeks later the army agreed

27:57.092 --> 28:00.590
to Cowan\'s request to do
a story on the nurses.

28:00.591 --> 28:04.091
They permitted her to go
to an evacuation hospital

28:04.092 --> 28:05.966
in the Atlas Mountains in Tunisia,

28:05.967 --> 28:08.716
located safely well behind the front lines.

28:08.717 --> 28:10.507
Sometimes the front is very fluid

28:10.508 --> 28:14.298
and it doesn\'t always stay
where the army wants it to stay.

28:14.299 --> 28:19.008
(male announcer) In bitter fighting,
Nazi tanks hurled back Allied forces

28:19.009 --> 28:20.674
to the Algerian border.

28:20.675 --> 28:23.757
(male) Suddenly,
all these German tanks and planes

28:23.758 --> 28:25.924
start pushing against American lines.

28:25.925 --> 28:30.507
And when they break through,
all hell breaks loose.

28:30.508 --> 28:33.217
Everyone starts retreating.

28:33.967 --> 28:36.298
There\'s Ruth Cowan in this hospital.

28:36.299 --> 28:41.382
Suddenly, she has to get to
the rear as fast as she can.

28:41.383 --> 28:44.298
(female) The army is not
providing transportation

28:44.299 --> 28:46.299
for Robb and for Ruth Cowan.

28:46.300 --> 28:51.216
The two of them find themselves
without a ride, on the road,

28:51.217 --> 28:52.549
in the middle of the retreat.

28:52.550 --> 28:56.966
They actually get pinned down
under fire for about 20 minutes.

28:56.967 --> 28:58.674
They could have been killed.

28:58.675 --> 29:00.340
She pitches her gear, starts hitchhiking.

29:00.341 --> 29:05.008
Someone finally picks her up
and takes her back to safety.

29:05.009 --> 29:07.549
(narrator) Army censors
would not permit Cowan

29:07.550 --> 29:09.340
to reveal her dangerous episode,

29:09.341 --> 29:12.507
nor report the news of the Allied defeat.

29:12.508 --> 29:14.298
Instead, she wrote,

29:14.299 --> 29:16.507
\"We are now in a front lines hospital.

29:16.508 --> 29:18.882
\"All night long nurses are getting up.

29:18.883 --> 29:24.091
\"Nurses who already had put
in a day from 12 to 14 hours.

29:24.092 --> 29:27.382
\"Never in my life did I
think women could live a life

29:27.383 --> 29:30.549
\"as hard as that of these nurses.

29:30.550 --> 29:34.049
\"But in their faces is calmness.

29:34.050 --> 29:36.298
\"The nurses in the
operating room still wear

29:36.299 --> 29:39.049
\"white hose and shoes and aprons.

29:39.050 --> 29:41.632
They brought a good supply of cosmetics.\"

29:41.633 --> 29:44.049
[swing music playing]

29:44.050 --> 29:47.882
(female) One of the most interesting
paradoxes of Cowan\'s career

29:47.883 --> 29:51.258
was that she\'s doing this radical act.

29:51.259 --> 29:52.841
She\'s writing about war.

29:52.842 --> 29:55.340
She\'s breaking all of these cultural rules.

29:55.341 --> 29:58.298
So then when she files her story, she goes

29:58.299 --> 30:03.174
out of her way to throw in
all these gender stereotypes.

30:03.175 --> 30:07.298
(female #2) In Cowan\'s stories,
women still seem to be women.

30:07.299 --> 30:10.298
Yes, they were wearing
the government\'s uniforms.

30:10.299 --> 30:13.091
Yes, they were doing non-traditional jobs.

30:13.092 --> 30:16.549
And this is where we sigh a sigh of relief

30:16.550 --> 30:18.757
back home when we\'re reading this,

30:18.758 --> 30:20.465
they are women after all.

30:20.466 --> 30:24.298
And that\'s very reassuring to people.

30:24.299 --> 30:28.298
(narrator) And very popular,
as Cowan would soon find out,

30:28.299 --> 30:31.340
though not before she
was disappointed to learn

30:31.341 --> 30:33.049
she was being transferred

30:33.050 --> 30:36.298
from the war zone in
North Africa to London.

30:36.299 --> 30:38.340
There, a surprise awaited her...

30:38.341 --> 30:41.425
A letter from a US Navy commander.

30:42.259 --> 30:45.298
Ruth Cowan wrote a flock
of hometown stories,

30:45.299 --> 30:47.924
just the right tales for
mothers and relatives

30:47.925 --> 30:51.549
who want to know about those
important facts of living,

30:51.550 --> 30:53.549
which most male reporters never see.

30:53.550 --> 30:56.382
But for Cowan herself, it\'s kind of a trap.

30:56.383 --> 31:02.174
Because there she is kind
of doing what she thinks,

31:02.175 --> 31:06.465
as a professional journalist,
as the trivia again.

31:06.466 --> 31:08.298
So now she\'s vindicated.

31:08.299 --> 31:10.674
Her editors now love her stories.

31:10.675 --> 31:12.465
But she\'s got her own definition

31:12.466 --> 31:15.799
of what it means to be a war correspondent.

31:15.800 --> 31:18.174
This isn\'t what she had in mind.

31:18.175 --> 31:22.008
Even if you\'re restricted, you\'re there.

31:22.009 --> 31:23.507
And you\'re still witnessing history,

31:23.508 --> 31:26.632
and you\'re still interpreting
it, and somebody\'s reading it.

31:26.633 --> 31:32.258
And you\'re expanding what
people understand about war.

31:32.259 --> 31:33.382
You push the envelope.

31:33.383 --> 31:37.716
(male) She has this vision of
what a real reporter should be.

31:37.717 --> 31:41.549
She doesn\'t get it that
she\'s stumbled onto something

31:41.550 --> 31:44.425
that\'s unique and wonderful.

31:49.800 --> 31:53.298
(female) I used to ask myself
when I arrived somewhere,

31:53.299 --> 31:57.258
\"Who would I be if this was
happening where I live?\"

31:57.259 --> 32:00.507
\'Cause what you missed when
you read about the war,

32:00.508 --> 32:05.507
is what it was like for the
people who live through it.

32:05.508 --> 32:08.674
And so, I kind of made that my business.

32:08.675 --> 32:12.298
I felt that that was my responsibility.

32:12.299 --> 32:14.549
(narrator) November, 1943.

32:14.550 --> 32:17.298
Martha Gellhorn arrived alone in London.

32:17.299 --> 32:19.216
Hemingway had encouraged her

32:19.217 --> 32:21.298
to go report the war without him.

32:21.299 --> 32:23.716
Gellhorn stayed at the Dorchester Hotel

32:23.717 --> 32:25.298
and met up with old friends,

32:25.299 --> 32:28.299
Virginia Cowles of the North
Atlantic News Syndicate,

32:28.300 --> 32:31.298
and photographers Robert
Capa and Lee Miller.

32:31.299 --> 32:35.590
Also congregating there were
broadcaster Dorothy Thompson,

32:35.591 --> 32:38.008
Life Magazine\'s Clare Boothe Luce,

32:38.009 --> 32:40.465
Scripps Howardreporter Ernie Pyle,

32:40.466 --> 32:44.424
and wire service reporter Ruth Cowan.

32:44.425 --> 32:48.258
(female) The American war
reporters were in the Dorchester.

32:48.259 --> 32:51.882
They turned it into their unofficial club.

32:51.883 --> 32:54.340
They\'re all waiting for the invasion,

32:54.341 --> 32:55.841
they\'re waiting for D-Day.

32:55.842 --> 33:00.340
While they\'re waiting,
they\'re having quite a good time.

33:00.341 --> 33:02.216
And she arrived.

33:02.217 --> 33:04.298
First, happy to see her colleagues,

33:04.299 --> 33:05.924
many she hadn\'t seen since Spain.

33:05.925 --> 33:09.590
Remember she\'s been isolated
in Cuba for some time.

33:09.591 --> 33:12.924
So, the initial few days of seeing people,

33:12.925 --> 33:14.716
of drinking, of camaraderie,

33:14.717 --> 33:17.590
seeing old lovers, seeing old friends.

33:17.591 --> 33:21.298
But eventually it would
have begun to drive her nuts

33:21.299 --> 33:24.091
because she\'s not a group person.

33:24.092 --> 33:27.674
(narrator) To get her accreditation
forCollier\'s Magazine,

33:27.675 --> 33:29.465
Gellhorn had promised to abide

33:29.466 --> 33:31.841
by the restrictions on women reporters.

33:31.842 --> 33:34.298
No reporting from the front lines.

33:34.299 --> 33:35.299
No press briefings.

33:35.300 --> 33:39.633
(female) Martha had huge contempt
always for press briefings.

33:40.633 --> 33:42.674
She felt that far more interesting than

33:42.675 --> 33:47.008
the individual battles,
were how the world was reacting.

33:47.009 --> 33:51.299
What was it like to be a country at war?

33:52.050 --> 33:56.465
(female #2) If women are
excluded from one area,

33:56.466 --> 34:00.340
they oftentimes use this as,

34:00.341 --> 34:06.007
almost an unwanted opportunity
to look elsewhere for the story.

34:06.008 --> 34:09.882
(narrator) She visited a
refugee camp outside of London:

34:09.883 --> 34:12.297
\"In my village,\" the man said,

34:12.298 --> 34:15.297
\"people stood in front
of the church and cried,

34:15.298 --> 34:16.298
\"\'Is there a God?

34:16.299 --> 34:21.174
\"\'If there is,
he would not allow these things to be.\'

34:21.175 --> 34:23.799
\"That was when the Germans
came for the men and boys

34:23.800 --> 34:26.590
\"to send them away as slave labor.

34:26.591 --> 34:29.216
\"They also took the women they wanted.

34:29.217 --> 34:32.174
\"It was known that from these,
they would pick the girls

34:32.175 --> 34:36.298
to use in the brothels
on the eastern front.\"

34:36.717 --> 34:41.924
(female) Gellhorn saw
that the story of refugees

34:41.925 --> 34:44.550
is the story of war.

34:45.967 --> 34:49.174
(narrator) Gellhorn felt
it was her responsibility

34:49.175 --> 34:50.882
to report on civilians.

34:50.883 --> 34:54.049
But she also believed in
the professional imperative.

34:54.050 --> 34:57.424
That a real war reporter is an eyewitness.

34:57.425 --> 35:02.298
(female) Martha got herself to
Algiers and Italy, where she began

35:02.299 --> 35:06.299
to write about the beginnings
of the Italian campaign.

35:06.633 --> 35:11.507
(female #2) These women war correspondents
began to give American readers

35:11.508 --> 35:14.340
a taste of what the real war was like.

35:14.341 --> 35:18.340
And the real war is a war
that affects civilians.

35:18.341 --> 35:21.632
It\'s civilians that are
underneath the bombs.

35:21.633 --> 35:25.590
It is civilians that have
to move from town to town.

35:25.591 --> 35:30.298
This, we have now understood
today, is integral

35:30.299 --> 35:32.507
to understanding a war.

35:32.508 --> 35:35.382
(narrator) By this time,
Gellhorn had been away

35:35.383 --> 35:38.298
from Cuba and Hemingway for six months.

35:38.299 --> 35:42.091
She wrote to him often,
pleading with him to join her.

35:42.092 --> 35:44.757
(female) Hemingway kept
hounding her with letters,

35:44.758 --> 35:47.757
\"The Finca\'s falling
apart, I need you here,\"

35:47.758 --> 35:50.298
putting this tremendous pressure on her.

35:50.299 --> 35:54.299
(narrator) She received a
telegram from Hemingway...

35:56.758 --> 36:00.966
Gellhorn flew back to Cuba to
appease her furious husband.

36:00.967 --> 36:04.049
(female) He did something incredibly nasty.

36:04.050 --> 36:08.298
Hemingway could\'ve had
any magazine in the world.

36:08.299 --> 36:10.298
Anyone would have published what he wanted.

36:10.299 --> 36:15.258
He gotCollier\'sto commission
him to write about the war.

36:15.259 --> 36:18.298
(narrator) And since each
magazine could only have one

36:18.299 --> 36:23.049
officially accredited reporter,
Collier\'schose Hemingway.

36:23.050 --> 36:26.299
Gellhorn lost her accreditation.

36:26.675 --> 36:28.507
Hemingway\'sCollier\'s assignment

36:28.508 --> 36:31.424
provided him with air
transportation to Europe.

36:31.425 --> 36:35.716
He informed her that no women
were allowed on the plane.

36:35.717 --> 36:39.716
She was forced to return
to Europe on a freighter.

36:39.717 --> 36:42.008
The trip took 28 days.

36:42.009 --> 36:43.757
(female) She wrote from the boat,

36:43.758 --> 36:47.091
a series of letters to various friends,

36:47.092 --> 36:48.590
where she is actually mourning

36:48.591 --> 36:51.716
what is clearly the passing
of their relationship.

36:51.717 --> 36:53.298
And when she arrived in London,

36:53.299 --> 36:58.298
Hemingway had already set
himself up in the Dorchester.

36:58.299 --> 37:00.549
And down the corridor

37:00.550 --> 37:03.757
was war reporter Mary Welsh.

37:03.758 --> 37:09.174
And it was clear that he was
having an affair with her.

37:09.175 --> 37:11.508
[bombs whistling]

37:15.175 --> 37:19.966
(narrator) 1944,
nearly two years after Pearl Harbor.

37:19.967 --> 37:23.632
The government\'s mobilization
plan was in full force.

37:23.633 --> 37:26.258
Millions of men were overseas fighting.

37:26.259 --> 37:31.258
And millions of women were
now working outside the home.

37:31.259 --> 37:35.008
This effort, intended only
for the duration of the war,

37:35.009 --> 37:38.298
caused huge disruption in American society,

37:38.299 --> 37:41.340
a total transformation of
the work force at home.

37:41.341 --> 37:45.298
In every industry,
jobs had opened up for women,

37:45.299 --> 37:47.590
from defense plants to newsrooms.

37:47.591 --> 37:51.632
(male) A lot of women all of
a sudden had opportunities

37:51.633 --> 37:54.258
for things they never would have had.

37:54.259 --> 37:56.174
It wasn\'t just the women\'s pages.

37:56.175 --> 37:58.424
They could cover crime or government.

37:58.425 --> 37:59.799
A few could go cover war.

37:59.800 --> 38:03.298
(narrator) With 50% of the
staffs of small city newspapers

38:03.299 --> 38:06.424
being female,
it appeared that women reporters

38:06.425 --> 38:09.008
had finally made a breakthrough.

38:09.009 --> 38:12.674
Even military attitudes
toward female war reporters

38:12.675 --> 38:14.674
seemed to have softened.

38:14.675 --> 38:17.675
[march music playing]

38:19.591 --> 38:22.841
(female announcer) The women
war correspondents in London

38:22.842 --> 38:24.674
receive from a WAAC, a communiqué

38:24.675 --> 38:27.133
from which they will write their stories.

38:27.134 --> 38:29.091
For the New York Times, Sally Reston.

38:29.092 --> 38:34.383
And covering the news
forLifeandTime, Mary Welsh.

38:34.925 --> 38:38.382
While Ruth Cowan\'s subject
for The Associated Press

38:38.383 --> 38:39.882
is antiaircraft defense.

38:39.883 --> 38:43.716
She\'s an example of how the
American women correspondents

38:43.717 --> 38:46.299
are reporting the war.

38:47.300 --> 38:51.674
(narrator) The US Army publicly
promoted the women war reporters.

38:51.675 --> 38:53.298
But in London, Ruth Cowan

38:53.299 --> 38:56.799
was about to learn the
military\'s actual stance.

38:56.800 --> 38:58.716
In the weeks leading to D-Day,

38:58.717 --> 39:01.298
the women reporters were hoping to go.

39:01.299 --> 39:03.049
Not in the first wave perhaps,

39:03.050 --> 39:05.882
but thought they\'d be
able to cover something.

39:05.883 --> 39:08.716
In fact, Ruth Cowan had
been lobbying the AP

39:08.717 --> 39:13.091
and expected the army to let
her accompany the first nurses.

39:13.092 --> 39:16.799
Well, 11th hour,
the army says no, can\'t go.

39:16.800 --> 39:21.340
And all women are banned
from going over on D-Day.

39:21.341 --> 39:25.757
(narrator) EvenLife Magazine\'smedia
star nMargaret Bourke-White

39:25.758 --> 39:27.298
was denied credentials.

39:27.299 --> 39:31.298
Instead, male reporters,
including Walter Cronkite

39:31.299 --> 39:35.299
and Ernest Hemingway,
were given prime spots.

39:36.299 --> 39:39.966
Male reporters reunited on
the southern coast of England

39:39.967 --> 39:41.298
in preparation for D-Day.

39:41.299 --> 39:44.882
Ruth Cowan wrote a letter
of protest to the president

39:44.883 --> 39:47.340
of the American Correspondents Association.

39:47.341 --> 39:51.716
It was cosigned by Martha
Gellhorn and Mary Welsh:

39:51.717 --> 39:54.340
\"I would like to submit a
memo on the difficulties

39:54.341 --> 39:56.799
\"we women war correspondents are having

39:56.800 --> 39:59.299
\"attempting to report on the activities

39:59.300 --> 40:01.298
\"of Americans at war.

40:01.299 --> 40:03.091
\"We are being stopped from doing

40:03.092 --> 40:05.465
\"a first-class workmanship job.

40:05.466 --> 40:07.757
\"Instead, we are forced into the position

40:07.758 --> 40:10.882
\"of wrangling and fighting to do our jobs.

40:10.883 --> 40:14.298
All I want is to do my job.\"

40:14.299 --> 40:16.298
(narrator) But for Martha Gellhorn,

40:16.299 --> 40:18.340
a letter of protest was not enough.

40:18.341 --> 40:22.091
She had too much at stake to
abide by the restrictions.

40:22.092 --> 40:26.424
(female) So, Martha goes down
to the coast to the docks.

40:26.425 --> 40:31.424
And she sees a large hospital
ship with a red cross on it.

40:31.425 --> 40:33.340
So, she walks up to the gangplank

40:33.341 --> 40:37.133
and there is a policeman who
says, \"What are you doing?\"

40:37.134 --> 40:42.049
She says, \"I\'m writing about the
nurses for the woman\'s angle,

40:42.050 --> 40:44.799
for us to know who the
wonderful nurses are.\"

40:44.800 --> 40:48.298
He, without thinking anything
more, waves her on board.

40:48.299 --> 40:50.091
So, what she managed to do,

40:50.092 --> 40:53.966
which is one of the great
stories in journalism,

40:53.967 --> 40:58.008
is she hid in the bathroom
of a hospital ship,

40:58.009 --> 41:00.716
which was going to France.

41:00.717 --> 41:07.174
So, she left behind all the
accredited male reporters

41:07.175 --> 41:09.925
and got ahead of them.

41:24.299 --> 41:28.425
(female) And she lands with
the nurses and doctors.

41:49.259 --> 41:52.424
And she helps bring up the wounded.

41:52.425 --> 41:55.298
And because she speaks
some German and French,

41:55.299 --> 41:57.298
she then interprets for the doctors.

41:57.299 --> 42:00.465
And she files a fantastically good story

42:00.466 --> 42:04.424
about the landings and
sends it to Collier\'s:

42:04.425 --> 42:06.924
\"It will be hard to
tell you of the wounded,

42:06.925 --> 42:08.882
\"there were so many of them.

42:08.883 --> 42:12.298
\"There was no time to talk,
there was too much else to do.

42:12.299 --> 42:16.174
\"They had to be fed,
as most of them had not eaten in two days.

42:16.175 --> 42:18.632
\"Shoes and clothing had to be cut off.

42:18.633 --> 42:20.049
\"They wanted water.

42:20.050 --> 42:22.299
\"The nurses and orderlies
working like demons

42:22.300 --> 42:24.340
\"were called quickly to a bunk where a man

42:24.341 --> 42:27.590
\"suddenly and desperately needed attention.

42:27.591 --> 42:30.507
\"It seemed to take hours to pour hot coffee

42:30.508 --> 42:32.216
\"via the spout of a teapot

42:32.217 --> 42:36.674
into a mouth that just
showed through bandages.\"

42:36.675 --> 42:39.298
(female) Hemingway,
meanwhile, has not got ashore

42:39.299 --> 42:42.799
because his landing craft
is not one that gets ashore.

42:42.800 --> 42:47.049
He puts back to England and
writes a piece for Collier\'s

42:47.050 --> 42:51.298
which says, \"I got
there, I saw everything.\"

42:51.299 --> 42:55.799
(female) Hemingway was so
angry that she had managed

42:55.800 --> 42:58.091
to get ahead on the hospital ship.

42:58.092 --> 43:02.549
He did not see as much as she
did, but ended up getting

43:02.550 --> 43:05.924
the splash front page story for Collier\'s.

43:05.925 --> 43:11.216
(narrator) Meanwhile,
Ruth Cowan had waited dutifully behind.

43:11.217 --> 43:13.799
From the English shores she stood witness

43:13.800 --> 43:15.716
to the poignant details of history,

43:15.717 --> 43:19.425
as the first boats of
wounded soldiers arrived:

43:20.299 --> 43:23.466
\"\'Bring up the ambulances,
\' came a command.

43:24.009 --> 43:29.298
\"Litter bearers began placing
them beside the gangplank.

43:29.299 --> 43:31.549
\"No one spoke.

43:31.550 --> 43:35.924
\"One shouted as he climbed into the truck,

43:35.925 --> 43:40.550
\'We made it after all.\'\"

43:45.217 --> 43:47.632
(female) When Martha got back from France

43:47.633 --> 43:50.382
she was in trouble with the military.

43:50.383 --> 43:51.799
She had no accreditation.

43:51.800 --> 43:56.133
And to punish her,
they sent her off to where some nurses

43:56.134 --> 44:00.716
were training outside London
in a sort of stately home.

44:00.717 --> 44:02.632
She stuck it out a few days

44:02.633 --> 44:06.382
and then she got out by
rolling under the fence.

44:06.383 --> 44:08.549
She went to an airport.

44:08.550 --> 44:10.966
So, she got herself back into Europe.

44:10.967 --> 44:15.298
And from then on she was
never really accredited

44:15.299 --> 44:17.008
to any military group.

44:17.009 --> 44:20.925
She was never official again after that:

44:21.383 --> 44:27.299
\"I was a gypsy, no papers, nothing.\"

44:31.092 --> 44:34.549
(narrator) While Martha Gellhorn
was flying back into Europe,

44:34.550 --> 44:38.424
a trend was emerging in the United States.

44:38.425 --> 44:40.966
Newspaper editors began recognizing

44:40.967 --> 44:43.133
the value of women war correspondents.

44:43.134 --> 44:48.049
Not just as reporters,
but as news in themselves.

44:48.050 --> 44:51.882
They hired more women and
advertised them as well.

44:51.883 --> 44:56.049
(female) So, these women became
sort of the quasi-celebrities

44:56.050 --> 45:00.298
and were used in the
marketing of the newspaper.

45:00.299 --> 45:02.632
It was considered kind of chic

45:02.633 --> 45:06.717
to have your girl war correspondent.

45:07.758 --> 45:10.841
(narrator) Dickey Chapelle
realized it was the right time

45:10.842 --> 45:14.966
to push her editor to send
her on assignment overseas:

45:14.967 --> 45:16.966
\"I began by saying I wanted to cover

45:16.967 --> 45:18.258
\"what women were doing in the Pacific

45:18.259 --> 45:20.424
\"and anything else that
happens while I\'m out there.

45:20.425 --> 45:21.716
\"He didn\'t let me finish.

45:21.717 --> 45:23.298
\"\'We need somebody out there right now.

45:23.299 --> 45:25.590
\"\'Go ahead, just be sure you\'re the first

45:25.591 --> 45:27.507
woman reporter someplace.\'\"

45:27.508 --> 45:31.299
[stately low brass playing]

45:32.800 --> 45:34.966
(male announcer) A mighty invasion fleet

45:34.967 --> 45:37.049
heads for the most strategic goal

45:37.050 --> 45:38.674
thus far in the Pacific war...

45:38.675 --> 45:43.717
Iwo Jima, the island
stronghold guarding Japan.

45:44.299 --> 45:46.424
(narrator) February, 1945,

45:46.425 --> 45:50.049
Chapelle found herself
aboard the USS Samaritan,

45:50.050 --> 45:53.674
a hospital ship off the coast of Iwo Jima.

45:53.675 --> 45:56.757
Her baptism by fire began immediately.

45:56.758 --> 46:00.674
(male) Dickey Chapelle is
accredited to cover the use

46:00.675 --> 46:04.757
of whole blood in hospital situations.

46:04.758 --> 46:06.966
And she\'s not allowed to go ashore.

46:06.967 --> 46:10.549
The first time she sees
war up close and personal,

46:10.550 --> 46:14.549
she didn\'t get it in Panama,
is when wounded marines

46:14.550 --> 46:17.632
are coming in wholesale from the island.

46:17.633 --> 46:21.717
I mean, Iwo Jima is sheer butchery.

46:24.299 --> 46:27.049
Very quickly this hospital
ship, which is intended

46:27.050 --> 46:29.841
to take a few hundred,
becomes just overloaded

46:29.842 --> 46:34.925
and groans with the weight
of the wounded and the dying.

46:37.466 --> 46:40.091
(female) It was just horrifying for her.

46:40.092 --> 46:45.591
And yet, she was able to function.

46:47.299 --> 46:48.299
[camera snap]

46:48.300 --> 46:53.298
In many ways, I think perhaps
the camera became the shield.

46:53.299 --> 46:56.008
She was going to be a professional who was

46:56.009 --> 47:00.216
looking through the lens and
whatever was on the other side,

47:00.217 --> 47:03.299
she was going to capture on film.

47:12.299 --> 47:16.924
(male) She takes one picture
of a marine bleeding profusely.

47:16.925 --> 47:19.674
And he\'s obviously in agony.

47:19.675 --> 47:21.716
But she doesn\'t think he\'ll live.

47:21.717 --> 47:23.924
In her notes for this photograph

47:23.925 --> 47:26.757
she calls him, \"Dying marine.\"

47:26.758 --> 47:29.340
He\'s the perfect person for her to cover

47:29.341 --> 47:32.298
because he\'s given 14 units of whole blood.

47:32.299 --> 47:35.258
He must have been leaking like a sieve.

47:35.259 --> 47:37.465
But the blood brings him back.

47:37.466 --> 47:41.216
The next day he looks like he\'s a new man.

47:41.217 --> 47:42.632
She takes his picture again.

47:42.633 --> 47:46.549
Side by side you\'d swear these
were two different people.

47:46.550 --> 47:50.382
But Chapelle was determined
to become the first women

47:50.383 --> 47:53.298
at the front lines in
the Pacific war theater.

47:53.299 --> 47:56.924
(male) In World War II the
front line still exists.

47:56.925 --> 48:00.424
There\'s still a line marking
areas under Allied control

48:00.425 --> 48:02.382
and areas under Axis control.

48:02.383 --> 48:05.216
But for the first time in warfare,

48:05.217 --> 48:09.299
it\'s not a guarantee
of where the action is,

48:09.300 --> 48:12.300
of where the real story is.

48:14.299 --> 48:20.216
(female) Dickey Chapelle
wants to be where the GIs are.

48:20.217 --> 48:26.008
She defined the war zone really narrowly.

48:26.009 --> 48:29.298
She, in fact, was very traditional.

48:29.299 --> 48:34.133
She adopted the male war
correspondents\', the generals\',

48:34.134 --> 48:37.298
and the editors\' notion
of where the war is.

48:37.299 --> 48:40.507
The war is where you can feel the bullets

48:40.508 --> 48:42.216
whizzing by your head.

48:42.217 --> 48:44.924
Her notion of the war was, \"at the front.\"

48:44.925 --> 48:48.507
(narrator) Her accreditation
papers confined her to the ship.

48:48.508 --> 48:52.300
Yet, her editor wanted her to get ashore:

48:53.092 --> 48:56.298
\"I wish I knew what was expected of me.

48:56.299 --> 48:58.632
\"Am I to take the feminine psychology

48:58.633 --> 49:00.298
\"and do as I\'ve been told,

49:00.299 --> 49:02.008
\"to be the first woman somewhere?

49:02.009 --> 49:05.133
\"Which means I adopt the
admired manly virtues

49:05.134 --> 49:08.507
\"and grab the first
shoreward vessels I can?

49:08.508 --> 49:11.799
\"I have a fine incipient
case of split personality.

49:11.800 --> 49:15.091
\"The masculine lined up
against the feminine.

49:15.092 --> 49:18.134
This is no place for the feminine.\"

49:19.175 --> 49:20.757
(female) You could be very close,

49:20.758 --> 49:25.174
you could be in the middle
of or on the front line,

49:25.175 --> 49:27.924
and it\'s not where it\'s happening.

49:27.925 --> 49:30.216
It\'s on the periphery sometimes

49:30.217 --> 49:33.174
that the most interesting moments occur.

49:33.175 --> 49:36.799
(narrator) Now on a hospital
ship off the coast of Okinawa,

49:36.800 --> 49:40.258
she convinced an officer it
would be safe to photograph

49:40.259 --> 49:43.716
at a field hospital because
the island looked so calm.

49:43.717 --> 49:46.507
The Japanese that occupied
the island allowed

49:46.508 --> 49:51.216
the American army and marines
to just get safely on shore

49:51.217 --> 49:52.507
and get into the interior.

49:52.508 --> 49:56.465
When everybody was on shore,
they came out of their caves

49:56.466 --> 49:59.299
and started to launch a counterattack.

50:04.717 --> 50:07.091
(female) She\'s traveling around the island.

50:07.092 --> 50:08.590
She\'s not supposed to be there.

50:08.591 --> 50:12.133
She finally gets to one of
the very forward hospitals

50:12.134 --> 50:15.590
and the doctor there is
just appalled to see her,

50:15.591 --> 50:17.716
\"What the hell are you doing here?\"

50:17.717 --> 50:22.050
And she realizes she\'s
just incredibly unwelcome.

50:23.134 --> 50:28.298
Late at night a crew brings
in four injured soldiers.

50:28.299 --> 50:30.757
One needs some serious surgery.

50:30.758 --> 50:34.966
And Dickey holds a
flashlight for several hours

50:34.967 --> 50:40.674
while the surgeon performs
surgery on this young soldier.

50:40.675 --> 50:42.465
As she\'s holding the flashlight,

50:42.466 --> 50:45.298
Dickey is very much a part of the war.

50:45.299 --> 50:51.298
She is no longer the spectator
with the camera recording.

50:51.299 --> 50:53.424
She\'s in it:

50:53.425 --> 50:58.298
\"A pool of blood, clenched fist.

50:58.299 --> 51:00.298
\"That wasn\'t war.

51:00.299 --> 51:03.590
\"None of those Hollywood
trademarks of horror

51:03.591 --> 51:04.299
\"were valid here.

51:04.300 --> 51:09.258
\"Everybody out here had seen
some guy trailing his innards.

51:09.259 --> 51:12.217
That was the real story of war.\"

51:15.175 --> 51:17.382
(narrator) Grateful to
Chapelle for her help,

51:17.383 --> 51:21.758
the surgeon allowed her
to photograph the wounded.

51:33.758 --> 51:38.298
(male) But she\'s there in
violation of the orders.

51:38.299 --> 51:42.966
The navy had no intention
of letting any female

51:42.967 --> 51:45.049
war correspondent spend the night

51:45.050 --> 51:47.258
on the island with the troops.

51:47.259 --> 51:49.591
She was escorted out.

51:50.675 --> 51:54.298
The magazine that hired
her for this assignment

51:54.299 --> 51:56.091
refuses to run her pictures:

51:56.092 --> 52:00.882
\"My editor said, \'Dickey,
of course, our readers

52:00.883 --> 52:04.216
\"\'are interested in knowing that
their injured men are cared for,

52:04.217 --> 52:06.298
\"\'but you should have known better

52:06.299 --> 52:08.049
\"\'than to have made these pictures.

52:08.050 --> 52:13.550
We can\'t use them.
The wounded look too dirty.\'\"

52:14.259 --> 52:17.298
(female) Editors and
publishers and advertisers

52:17.299 --> 52:19.298
and the government didn\'t necessarily

52:19.299 --> 52:23.590
want to hear about how
severe the wounds were.

52:23.591 --> 52:26.590
They didn\'t want to hear
about the real horrors.

52:26.591 --> 52:30.425
None of us really have
the stomach for that.

52:35.425 --> 52:39.924
When the bang-bang is
over, what is left is this

52:39.925 --> 52:43.258
destruction of a country,
of a place, of a people.

52:43.259 --> 52:47.507
The war actual itself is a
small part of what\'s happening.

52:47.508 --> 52:50.841
The legacy of women war
reporters in World War II

52:50.842 --> 52:55.590
was to start to show us the
collateral damage of war,

52:55.591 --> 52:57.799
the social damage of war.

52:57.800 --> 53:02.298
And that is the lasting aspect of war.

53:02.299 --> 53:05.049
(narrator) May, 1945.

53:05.050 --> 53:08.382
The war in Europe was coming to an end.

53:08.383 --> 53:10.382
Martha Gellhorn had been traveling

53:10.383 --> 53:12.716
across the European front since D-Day,

53:12.717 --> 53:14.674
operating completely on her own,

53:14.675 --> 53:18.382
with no papers or protection
from the US military.

53:18.383 --> 53:22.258
(female) She had tremendous
fortitude and strength.

53:22.259 --> 53:26.298
Because it\'s physically
exhausting to report a war.

53:26.299 --> 53:30.716
And she kept going for months and months.

53:30.717 --> 53:34.507
(narrator) She wrote a letter
to her editor at Collier\'s:

53:34.508 --> 53:37.298
\"Today I saw pictures of two bodies

53:37.299 --> 53:39.966
\"dug up from some boneyard in Toulouse.

53:39.967 --> 53:44.549
\"They had been tortured by
Gestapo until they died.

53:44.550 --> 53:46.133
\"I look at anything, you see,

53:46.134 --> 53:48.841
\"because I do not admit one can turn away.

53:48.842 --> 53:50.674
\"One has no right to ignorance.

53:50.675 --> 53:53.924
\"One has no right to spare oneself.

53:53.925 --> 53:59.382
\"But I have never before seen
faces with gouged-out eyes.

53:59.383 --> 54:01.674
\"I thought I had seen it all.

54:01.675 --> 54:03.716
But evidently not.\"

54:03.717 --> 54:07.590
(narrator) He decided to
publish her letter as an article

54:07.591 --> 54:09.299
and asked her to keep going.

54:09.300 --> 54:12.008
(female) In the early spring of 1945,

54:12.009 --> 54:16.298
more and more refugees
were beginning to cross

54:16.299 --> 54:19.299
with the advancing Allied troops.

54:19.300 --> 54:21.716
Martha just heard more and more stories

54:21.717 --> 54:23.882
about these camps all over occupied Europe,

54:23.883 --> 54:27.966
ostensibly full of people
who\'d been used as slave labor

54:27.967 --> 54:30.507
and there\'d been extermination camps.

54:30.508 --> 54:34.050
Nobody knew too much about any of it.

54:44.175 --> 54:47.799
(narrator) She arrived in
Dachau soon after its liberation

54:47.800 --> 54:50.299
by the Allied forces.

54:57.633 --> 55:01.841
(female) I think she felt
this tremendous sense

55:01.842 --> 55:03.507
of personal responsibility.

55:03.508 --> 55:07.298
Because this had started
as far back as Spain

55:07.299 --> 55:08.716
and had not been stopped.

55:08.717 --> 55:14.632
She said the spectacle,
what she saw and what she realized

55:14.633 --> 55:17.299
men had done to other men,

55:17.300 --> 55:22.174
was so appalling to her,
that it had entered her soul

55:22.175 --> 55:25.967
and that she never again was free of it.

55:30.758 --> 55:33.633
[laughing]

55:34.383 --> 55:37.298
(narrator) Gellhorn was
in the infirmary at Dachau

55:37.299 --> 55:42.465
when a doctor told her the war
in Europe had come to an end.

55:42.466 --> 55:47.425
All over Europe,
people celebrated the Allied victory:

55:54.633 --> 55:57.549
\"We are not entirely
guiltless, we the Allies,

55:57.550 --> 56:01.799
\"because it took us 12 years
to open the gates of Dachau.

56:01.800 --> 56:04.799
\"We were blind and unbelieving and slow.

56:04.800 --> 56:07.298
\"And that we can never be again.

56:07.299 --> 56:11.298
\"If ever again we tolerate such cruelty,

56:11.299 --> 56:14.050
we have no right to peace.\"

56:15.134 --> 56:19.590
(narrator) Three months later the
United States dropped an atom bomb

56:19.591 --> 56:22.466
on Hiroshima and Nagasaki.

56:23.717 --> 56:29.091
150,000 Japanese civilians were killed.

56:29.092 --> 56:30.716
The Japanese surrendered.

56:30.717 --> 56:35.716
World War II had finally come to an end.

56:35.717 --> 56:41.091
In all, 24 1/2 million military personnel

56:41.092 --> 56:43.299
had been killed,

56:45.800 --> 56:49.299
and over 40 million civilians.

56:56.299 --> 56:59.008
The three women, having pushed themselves

56:59.009 --> 57:01.382
in the boundaries of the war story,

57:01.383 --> 57:03.632
found a surprise back home.

57:03.633 --> 57:07.133
Many women who covered World
War II found afterwards

57:07.134 --> 57:10.298
a calling for women to retreat to the home.

57:10.299 --> 57:12.882
Call in the media, \"The war is over.

57:12.883 --> 57:15.465
\"You performed men\'s jobs splendidly,

57:15.466 --> 57:16.757
but that was only temporary.\"

57:16.758 --> 57:21.757
(female #2) In journalism,
editors roll back the gender changes

57:21.758 --> 57:23.716
that have taken place in wartime.

57:23.717 --> 57:25.799
And they oftentimes do it quite crudely.

57:25.800 --> 57:29.340
I mean, they will take a
very skilled woman journalist

57:29.341 --> 57:31.882
and put her back on the woman\'s page.

57:31.883 --> 57:35.924
All in the name of recreating
this mythical notion

57:35.925 --> 57:38.425
of the normal society.

57:40.299 --> 57:44.298
(female #3) Ruth Cowan,
weeks before the war ended in Europe,

57:44.299 --> 57:47.216
she was taking Nembutal,
she was taking Seconals,

57:47.217 --> 57:49.298
she was drinking a lot of alcohol.

57:49.299 --> 57:53.591
They told her,
\"Go take a vacation in the States.\"

57:54.092 --> 57:58.425
She goes home and had a nervous breakdown.

57:59.134 --> 58:03.966
(narrator) After recovering,
she had an assignment at the Pentagon.

58:03.967 --> 58:06.966
A few years later somebody
discovers that they don\'t

58:06.967 --> 58:09.298
have enough women\'s stories
coming from Washington.

58:09.299 --> 58:12.507
So, they send her from
the Pentagon over to cover

58:12.508 --> 58:16.049
the White House and the
women\'s angle of Washington.

58:16.050 --> 58:20.049
So, she goes from covering
bombers to things like

58:20.050 --> 58:22.298
Ike\'s favorite barbeque recipe.

58:22.299 --> 58:24.882
(narrator) Two weeks
after her 55th birthday,

58:24.883 --> 58:28.882
the retirement age for women
at The Associated Press,

58:28.883 --> 58:30.507
Cowan married for the first time,

58:30.508 --> 58:35.299
and moved with her husband
to a farm in West Virginia.

58:37.175 --> 58:39.298
She finally got the
recognition she deserved

58:39.299 --> 58:42.841
as the president of the
Women\'s National Press Club

58:42.842 --> 58:44.424
and as an advisor on women

58:44.425 --> 58:48.175
in the services for the defense department.

58:48.800 --> 58:51.549
As she had in the past, Martha Gellhorn

58:51.550 --> 58:54.091
retreated into writing her novels.

58:54.092 --> 58:57.298
But this time she did
something else extraordinary.

58:57.299 --> 59:01.258
She adopted a child, an Italian war orphan,

59:01.259 --> 59:03.382
Alessandro, whom she called Sandy.

59:03.383 --> 59:07.174
(female) This was a little
boy orphaned during the war.

59:07.175 --> 59:10.924
She adopted him and tried to build a life

59:10.925 --> 59:12.298
for the two of them.

59:12.299 --> 59:16.465
(narrator) She would continue
to report wars into the 1980s.

59:16.466 --> 59:19.008
Her career spanned six decades,

59:19.009 --> 59:23.632
the longest career of any
American war reporter.

59:23.633 --> 59:27.299
Although Dickey Chapelle had
been sent home in disgrace,

59:27.300 --> 59:29.632
her photographs of the dying marine

59:29.633 --> 59:33.340
were being used in a Red Cross poster.

59:33.341 --> 59:36.966
She now knew she could cover wars.

59:36.967 --> 59:41.424
She did so for the next 25 years.

59:41.425 --> 59:43.216
She became the photographer

59:43.217 --> 59:46.674
editors told their reporters
to follow into a war zone

59:46.675 --> 59:50.507
because she would always find the story.

59:50.508 --> 59:52.298
She won the George Polk Award

59:52.299 --> 59:54.465
for the best reporting in any medium

59:54.466 --> 59:57.298
requiring exceptional
courage and enterprise.

59:57.299 --> 01:00:01.298
(female) I think as a body of
work, it says,

01:00:01.299 --> 01:00:02.549
\"You need to be close,

01:00:02.550 --> 01:00:06.632
\"you need to be up there
close to where it\'s happening

01:00:06.633 --> 01:00:09.298
\"to really tell the story of war.

01:00:09.299 --> 01:00:13.800
To have people understand
what war is really all about.\"

01:00:14.675 --> 01:00:20.175
And in 1965,
she was assigned to go to Vietnam.

01:00:25.050 --> 01:00:28.799
It was there that she
was killed by a land mine

01:00:28.800 --> 01:00:33.049
on an operation with the US marines.

01:00:33.050 --> 01:00:34.674
(narrator) At 46 years old,

01:00:34.675 --> 01:00:37.465
Chapelle was the first
American woman journalist

01:00:37.466 --> 01:00:39.966
to be killed while on assignment.

01:00:39.967 --> 01:00:45.299
The Marine Corps gives an
award in her honor every year:

01:00:45.300 --> 01:00:47.298
\"It is not a woman\'s place.

01:00:47.299 --> 01:00:49.298
\"There\'s no question about it.

01:00:49.299 --> 01:00:51.757
\"There\'s only one other species on Earth

01:00:51.758 --> 01:00:54.757
\"for whom a war zone is no
place, and that\'s men.

01:00:54.758 --> 01:00:57.882
\"But as long as men continue to fight wars,

01:00:57.883 --> 01:00:59.882
\"why, I think observers of both sexes

01:00:59.883 --> 01:01:03.299
will be sent out to see what happens.\"

01:01:05.842 --> 01:01:08.382
Funding to purchase and make
this educational production

01:01:08.383 --> 01:01:12.216
accessible was provided by the U.S.
Department of Education:

01:01:12.217 --> 01:01:15.549
PH: 1-800-USA-LEARN (V) or WEB: www.ed.gov.

01:01:15.550 --> 01:01:23.550
♪

01:03:25.675 --> 01:03:27.883
[typing]

01:03:40.425 --> 01:03:43.841
(male) Major funding for this
program has been provided

01:03:43.842 --> 01:03:47.800
by the National Endowment
for the Humanities.

01:03:48.341 --> 01:03:51.842
Exploring the human endeavor.