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F4U Corsair Pilots Who Refused to Die by Will Dabbs

Two young Marine F4U Corsair pilots entered a savage Pacific dogfight and somehow survived the impossible. One met a Japanese Zero’s propeller. The other fell 2,000 feet without a working parachute.

Vought F4U Corsair in flight, the Marine fighter known to the Japanese as Whistling Death
The F4U Corsair was one of the most graceful flying machines ever produced. The Japanese called it the “Whistling Death” due to the distinctive sound it made when the wind was roaring through the oil coolers in the wing roots. Wikipedia photo by Gary Wetzler.

The Pacific Dogfight That Set the Trap

The summer of 1943 was a busy time in the azure blue skies above the Pacific. Allied pilots battled their Japanese counterparts to the death over control of tiny spits of sandy jungle jutting up out of the ocean. If war had ever truly been chivalrous and gentlemanly, any pretense of that was gone some 18 months after the surprise attack at Pearl Harbor.

7 June 1943 saw brutal aerial combat over the Russell Islands in the Solomons. Marine F4U Corsairs and Army Air Corps P40 Warhawks mixed it up with Japanese Zeroes until the sky was dirty with smoke and death. One particular engagement produced two comparably extraordinary tales.

Why the Japanese Zero Ruled Early Pacific Skies

Japanese A6M Zero fighter, the agile opponent of American F4U Corsair pilots in World War 2
The Japanese A6M Zero was a scourge early in World War 2, but American designs soon eclipsed its performance. 10,939 examples were produced. Only one remains flyable today with its original engine. Wikipedia photo by Kogo.

At the onset of the war in the Pacific, the Japanese Zero and the men who flew it seemed unstoppable. Japanese naval aviators in particular were some of the most well-trained pilots in the world. However, their bench was shallow. While the United States tooled up to produce combat aircraft and pilots at a rate not seen before or since, Japanese aviators killed in combat could not readily be replaced. This attrition was beginning to be felt over the battlefield by mid-1943.

The Zero was considered invincible because of an intentional mechanical compromise. Where American fighters were fat with armor, self-sealing fuel tanks, and .50-caliber heavy machine guns, the A6M5 Zero was a stripped-down, lightweight thoroughbred. The Zero’s lack of armor and amenities made it nimble and fast but vulnerable.

Cockpit of an A6M2 Japanese Zero downed during the attack on Pearl Harbor
This is the cockpit of an A6M2 Zero downed during the attack on Pearl Harbor. Many Japanese pilots had little use for their radios and removed them from their planes. Public domain.

The Zero’s radios were rubbish. Unreliable, heavy, and quirky, Japanese radios of the day often pummeled Zero pilots with mind-numbing static. As a result, a great many Japanese pilots pulled the heavy radio gear out of their machines to improve their performance. This left tactical control up to such primitive stuff as hand signals and wing waggling. American tech would soon play a huge part in our coming overwhelming tactical superiority.

As a result, Japanese combat aircraft often flew in huge mixed formations. On 7 June, some 50 Japanese Zero fighters and single-engine bombers were droning along above the Russell Islands. Army P40’s bounced this huge gaggle of Japanese warplanes. The resulting frenetic dogfight devolved into a swirling maelstrom of aerial violence.

A Long Way Down: Samuel Logan Bails Out

F4U Corsair showing the large, powerful gull-winged profile flown by Marine pilot Samuel S. Logan
The F4U Corsair was fast and powerful. However, it also made for a big target. Wikipedia photo by Oren Rosen.

22-year-old Marine aviator LT Samuel S. Logan was flying an F4U Corsair when he came upon a solitary Zero hot on the tail of an Army Warhawk. Logan unleashed his half-dozen .50-caliber machine guns on the Japanese plane only to have another Zero get the jump on him.

He felt his heavy gull-winged machine shudder and realized that the control surfaces in his tail were shredded. With the big Marine fighter now beginning to come apart, Logan slid his canopy back, unfastened it, and crawled out of the cockpit.

One of the biggest threats to a successful egress from a crippled WW2-era fighter was being struck by one’s own plane during the jump. As a result, Sam Logan worked his way hand-over-hand down the length of his stricken machine and leapt clear from the damaged empennage. In moments, he was falling free. Once away from his airplane, Logan pulled the ripcord and found himself suspended underneath his parachute.

Cold-Blooded Code: A Zero Circles Back

Japanese A6M3 Zero fighter representing the deadly Pacific air combat faced by downed Allied pilots
Japanese pilots in WW2 more often than not gave no quarter in combat. American flyers fed that right back to them. Public domain.

The Zero pilot who had shot him down was not satisfied simply to have destroyed Logan’s airplane. He torqued his nimble little fighter around in a tight circle and lined up for a firing pass on the helpless Marine aviator. LT Logan knew what was coming.

Killing pilots while under canopy was illegal per the laws of war, but there wasn’t anybody around to enforce those laws. American pilots machine-gunned their helpless opponents on rare occasions, usually in response to barbarity such as this, but the Japanese did it quite a lot. This practice stemmed from the weird Bushido code that drove the Japanese war machine.

Japanese troops were indoctrinated to sacrifice everything for their Emperor. Surrender was a disgrace worse than death. As a result, enemy troops who had willingly saved themselves under such circumstances were not considered worthy of basic human protections.

Fish in a Barrel: A Zero Hunts Logan Under Canopy

US Marine paratrooper descending beneath a parachute, illustrating the distinction between paratroopers and downed aviators
Paratroopers under canopy are considered hostile combatants. Downed aviators are not. This is an important distinction. Public domain.

It is actually tougher to engage an essentially stationary aerial target from a fast-moving fighter plane than you might think. The Japanese pilot lined up on LT Logan and fired a long burst but missed. Logan lifted his legs as the enemy plane passed mere feet below him. The Zero then circled around for another try.

The second effort ended about the same as the first. Logan again had to lift his feet in an effort to avoid the attacking fighter. Miraculously, the Japanese pilot failed to connect a second time.

By the third pass, Logan was pulling madly at his risers in an effort to make himself a tougher target. Now focused entirely on killing the American flyer, the Japanese pilot loosed another burst at close range.

Misjudging the distance, the Zero pilot actually struck the dangling Marine with his propeller. The Zero removed most of Logan’s right foot as well as his left heel. As the Japanese fighter wheeled around for a fourth pass, a nearby American P40 noticed the carnage, engaged the enemy plane, and drove it away.

A Fine Mess: Wounded in the Pacific

B2 pararaft survival raft issued to American military aviators during World War 2
The B2 pararaft issued to American aviators during WW2 wasn’t much of a boat. Public domain.

LT Logan was now in a bit of a spot. The murderous Japanese pilot was no longer actively trying to kill him, which was great. However, he had just had his legs run through an airplane propeller. It was in this sordid state that he touched down in the warm waters of the Pacific.

Logan somehow got his life raft inflated and pulled himself out of the water. Clawing through his survival gear, he managed to get a tourniquet around his mangled right foot and liberally covered the wound in sulfa powder. He then injected himself with a morphine syrette to dull the pain.

Despite his injuries, Logan retrieved his signal mirror and successfully attracted the attention of an American floatplane. The friendly aircraft landed nearby and successfully effected a rescue. Logan was medevac’d to a Naval hospital where his right stump was dressed.

One Wild Ride: J.G. Percy Falls 2,000 Feet

Brewster F3A-1 Corsair representing the damaged fighter abandoned by Marine aviator J.G. Percy
LT Percy’s Corsair met the same fate as that of LT Logan. Public domain.

During this same engagement, one of Sam Logan’s fellow Corsair pilots, a Marine aviator named J.G. Percy from San Francisco, downed one Zero and damaged another. In the melee, Percy’s Corsair was also riddled with bullets and cannon shells. At 2,000 feet, the 21-year-old Marine aviator dove out of his dying plane.

The parachutes used by military aviators of that era were last-ditch survival tools. They were designed to be lightweight and portable. There were no reserves. When LT Percy yanked his ripcord, the white nylon chute malfunctioned into a worthless ribbon. He had no other options except simply to fall.

From nearly half a mile up, Percy accelerated to a ridiculous speed. Once he neared the water, he oriented himself feet-first and twisted his head skyward. In this configuration, he hit the water like a rocket.

Why a 2,000-Foot Fall Turns Water Into Concrete

Physics illustration explaining why water behaves almost like concrete during a high-speed fall
Gases can be compressed to do stuff for us. Liquids cannot. Public domain.

Liquids are incompressible. Gases are not. What that means is that you can compress a volume of air or similar gas into a tank to be used at your convenience. By contrast, no matter how much pressure you put on a liquid like water, that volume will not get appreciably smaller.

What that practically means in this case is that the Pacific Ocean had no give to it. Jumping into the water from a diving board allows the human body to slip into the water such that this potential energy is dissipated gradually and safely. At LT Percy’s speed, however, the water acted almost like concrete.

The fastest a human body can typical strike water without injury is between 35 and 40 mph. That equates out to a jump height of around 40 to 50 feet. Terminal velocity for a human being dropped from 2,000 feet is closer to 120 mph when falling belly-first. Percy was more like a pencil. Something had to give.

Brace for Impact: Percy Hits the Pacific

World War 2 Mae West life vest like the one that kept Marine aviator J.G. Percy afloat
The Mae West life vest, so named after the buxom actress, saved many a life during World War 2. Public domain.

Percy later said that he “Landed in the water feet-first and felt something break.” That something was his pelvis, but he was, against all odds, still alive. The young Marine got his Mae West life jacket inflated, and that kept his head above water.

Despite his grievous injuries, LT Percy swam for three hours until he reached a jagged reef. Pulling himself over the coral, he made his way with difficulty to the nearby beach. Percy remained on the beach throughout the night, unable to stand or walk. The following day, he attracted the attention of four passing natives who summoned aid and got him to safety. Once stabilized in an American military hospital, Percy recovered.

Two Marine Pilots Who Simply Refused to Die

Marine F4U Corsair pilot Samuel S. Logan, who survived being struck by a Japanese Zero propeller
Sam Logan miraculously survived his trip through the spinning propeller of a Japanese Zero. Public domain.

World War 2 was the most expansive conflict in human history. Between 70 and 85 million people lost their lives. 16 million Americans served. One in every 39 perished. Those are the raw numbers. However, the real drama of WW2 was not found in these cold statistics. It was embedded within the individual stories.

Sam Logan and JG Percy were two young Americans who answered the call to go and fight in defense of democracy. When faced with the prospect of violent, gory death, these two brass-balled jarheads simply said not today.

One man ran through an airplane propeller, while the other fell from a burning fighter plane without a parachute. Both Marines survived the war and miraculously lived to build lives and families back home. Our great nation is built upon such amazing stuff as this.

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Blonde Braids and Fatigues: Catherine Leroy in Vietnam by Guénola Pellen

In 1966, Catherine Leroy flew to Vietnam with a Leica and a hundred dollars in her pocket. Her photographs and unpublished correspondence, gathered in the book One-Way Ticket to Vietnam 1966–1968, reveal the courage and voice of a pioneer in war photojournalism.

“My parents and friends don’t understand the reasons that drive me to leave. For me, it’s quite simple… I’m twenty-one years old, I want to become a photojournalist and the biggest story is the Vietnam War.” This profession of faith by Catherine Leroy, almost a manifesto, opens the album orchestrated by Robert Pledge, Dominique Deschavanne and EXB editions, devoted to her first two years of reporting.

Nothing predestined this young woman from the Catholic bourgeoisie of Enghien-les-Bains to become a war reporter, except an early attraction to adventure. A severe asthmatic in childhood, forced into classical piano, she became passionate during adolescence for jazz and parachuting, accumulating eighty-four jumps before her departure. “She was born angry,” her mother confides to Robert Pledge, founding member of the Catherine Leroy Foundation.

Photographer Catherine Leroy about to jump with the 173rd Airborne during operation “Junction City”, Vietnam, 1967 © Photograph taken by a GI and sent recently to Catherine Leroy

This underlying rage drove her when she dropped out of high school. Determined, Catherine Leroy worked overtime hours at Manpower, saved up to acquire a Leica M2 and bought a “one-way” ticket to Saigon. A one-way trip to hell that would make her the only female “war photographer” in Vietnam until 1968. Others would follow from 1969 onwards, mostly French women: Christine Spengler, Françoise Demulder and Marie-Laure de Decker.

Fighting spirit

While she may not have known how to handle her camera well, the future war reporter had courage to spare and a sense of observation that emerged as soon as she entered Vietnamese airspace, narrated like a cinematic prologue. “The Air Vietnam DC8 from Vientiane [Laos] has been circling above Tan Son Nhut airport for a long time.”

Her eye notes every detail. “At our feet, a hundred planes parked along hangars with metal roofs. On the two runways, transport planes and helicopters take off and land every minute. The stewardess approaches and offers candy to the passengers; a fragile silhouette, she moves about, smiling, molded into a sky-blue Ao Dai [the traditional Vietnamese dress], embroidered with a red and yellow dragon.”

Vietnam War, 1966-1968 © Catherine Leroy
Vietnam War, 1966-1968 © Catherine Leroy
Civilian population fleeing Saigon before the arrival of North Vietnamese troops, end of the Vietnam War, 29 April 1975 © Catherine Leroy

These accounts are the heart of the work, which interweaves striking photographs and family correspondence. Eighty-seven letters from Catherine Leroy to her parents were recently discovered in a box, carefully preserved by her mother. Nearly half are included in the book. This epistolary voice draws the portrait of a determined woman, despite the ambient sexism that manifested itself even before her departure for Vietnam.

Brothers in arms and enemy colleagues

“‘War is a man’s business. A woman has no fucking place there.’ A journalist friend just gave me his true thoughts. I don’t respond. My decision is made,” she relates. Upon arriving in Saigon, Catherine Leroy once again confronted conventions. German photographer Horst Faas, photo director of the Associated Press, advised her to cover the sidelines of the conflict.

Catherine Leroy categorically refused, demanding to get as close to the action as possible. Faas capitulated, gave her a few rolls of film, and promised fifteen dollars per selected shot. But the photographer wasn’t done facing obstacles. “It’s still the ‘jungle’ in Saigon. All the French journalists are tearing each other apart. (…) It’s very hard to be considered as a woman in Saigon – two designations in use, whore or bitch.”

“At first, Catherine Leroy mostly spent time with French photographers who were delighted to see this young woman join them, but when they realized she was going to become a competitor, they became very unpleasant and really played dirty tricks on her,” explains Robert Pledge. In one of her letters to her parents, the photographer outright calls them “bastards.”

Tet offensive, Hue, Vietnam, February 1968 © Catherine Leroy

The rage to win

This male hostility never dented her determination. Especially since American or British photographers, like Larry Burrows, took her under their wing. “I’m friends with the American press and use CBS’s ‘Plymouth’ for my travels,” she writes to her mother. “The great war photographer Don McCullin spoke to me about her bravery in glowing terms,” adds Robert Pledge.

In the field, Catherine Leroy quickly proved herself. The young woman befriended American soldiers, shared their daily life, slept, ate, put her life in danger with them. “She was very small and slight, and could slip in everywhere,” notes Robert Pledge. “But what characterizes her is that she lived on site and constantly went on missions with the GIs, because she was broke and it was a way to be housed and fed.”

Dressed in fatigues, she slipped among the combatants, capturing the lightning speed of gunfire, the terror of displaced populations. Her ultra-tight framing revolutionized war photojournalism. “She was someone who had no fear,” testifies Robert Pledge. “She had a very physical sense of proximity, she wanted to be there, very close, right up against it.”

North Viernamese soldier, Tet Offensive, Hue, 1968 © Catherine Leroy

On the Cambodian Highlands, she captures a First Cav soldier in the middle of an operation, his gaze lost in the hostile jungle. In the Da Nang region, she photographs a wounded marine during a “search and destroy” mission, his face twisted in pain. Catherine Leroy photographs the hunt and brutal arrest, punches to the face included, of two suspected Viet Cong before their interrogation in the Mekong Delta. Her images tell the story of the conflict’s violence, “the waste of a generation.”

She also documented the forced displacement of the population during the so-called “search and seizure” phase. And immortalized the ballet of First Cav UH-1 Huey helicopters during Operation Pershing in Binh Dinh province. Seeing them today, it’s impossible not to think of the helicopter attack set to the Ride of the Valkyries in Francis Ford Coppola’s film Apocalypse Now.

The angel’s jump

February 21, 1967 marks a turning point. Catherine Leroy becomes the only civilian woman to parachute with the American army during Operation Junction City. Bob Cole photographs her before training, blonde braids sticking out from her helmet. “My 85th jump,” she writes laconically. The airborne assault of the 173rd Airborne Brigade near the Cambodian border remains the only operation of its kind during the conflict.

Her letters reveal a contrasting personality, oscillating between youthful carelessness and fierce determination. “Saigon, late May 1966. You know, when you see war, you realize that everyday problems are trivial and that bourgeois life isn’t much fun,” she writes to her mother. “I don’t really feel like I’m working. Let’s say I’m walking around with my eyes open, my pocket still light and that this vagabond life, all in all, suits me.”

Vietnam War, Operation Austin, May 1966 © Catherine Leroy
Catherine Leroy photographs her jump in operation Junction City, February 1967 © Catherine Leroy © Dotation Catherine Leroy

“And hell, when you’re young, you might as well live dangerously,” she continues in her correspondence. This bravado barely conceals the ordeals endured: malaria, multiple injuries, thirty-five shrapnel fragments in her body in May 1967. “Catherine Leroy talks about photos, of course, about the operations she attends, as if she were going away for the weekend,” comments Robert Pledge. “It’s a way, for her, to reassure her parents.”

A legend in the making

The Tet Offensive sealed her legend. In February 1968, during the Battle of Hue, Catherine Leroy photographed the recapture of the citadel by Bravo Company of the 1st Battalion, 5th Marine Regiment. Captured by North Vietnamese forces, she produces an exceptional report on the invisible enemy, images that would make the cover of Life accompanied by eight pages and an editorial entirely devoted to her work.

“Unprecedented for a young woman, let alone a French photographer,” emphasizes Robert Pledge. The only female photographer to cover the Vietnam conflict as a war correspondent (1966-1968) and the first woman to win the Robert Capa Gold Medal for her reports on the Lebanese civil war, Catherine Leroy nevertheless died in relative obscurity in Los Angeles, in July 2006, at sixty-one.

Vietnam War, 1967 © Catherine Leroy
Vietnam War, 1966-1968 © Catherine Leroy

“Catherine Leroy was forgotten through her own fault,” confides Robert Pledge. “She certainly had a big mouth, but never to boast or put herself forward. Which necessarily hurt her career.” Un aller simple pour le Viêt-nam 1966-1968 partially repairs this memorial injustice. The images, never cropped, with three exceptions justified by the loss of the original negatives, follow a meticulously reconstructed chronology.

“The combination of her images and her words (…) aims to be the most faithful possible restitution of the travel diary of a young woman barely out of adolescence who immersed herself in the horrors of war,” conclude Robert Pledge and Dominique Deschavanne in their foreword. Catherine Leroy would return to Vietnam in 1975, during the fall of Saigon, then in 1980 to contemplate the reunified and peaceful country. “She was determined to come full circle.”

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