1941

Steven Spielberg finished 1977 with his second consecutive blockbuster, “Close Encounters of the Third Kind”, which, like “Jaws” before it, provided the kind of escapism that the moviegoing public clearly craved.  Within three years, Spielberg appeared to have mastered the formula for the high-concept movie event, becoming the first director in history to cross the $100M mark at the domestic box office, and following that feat by becoming the first to do it twice.  Over the course of 1978, he would work closely with screenwriters Bob Gale and Robert Zemeckis as well as producer John Milius to finalize the blueprint for his latest project, a star-studded comedy spectacular eventually titled “1941”, which he hoped would repeat his critical and box office success.

Set during World War II, “1941” depicted the panic and chaos that ensued around Los Angeles in the immediate aftermath of the attack on Pearl Harbor.  Very loosely inspired by historical events, the movie aims to satirize the overblown fears of a Japanese invasion of the West Coast.  Emboldened by Spielberg’s confidence in the glow of his recent creative streak, the filmmaking team’s unbridled vision for an epic blend of slapstick humor with elaborate action sequences resulted in a much more ambitious motion picture than initial discissions had anticipated.

The movie begins with a sequence that effectively recreates Spielberg’s opening to “Jaws”, down to its iconic score and original terrified swimmer, although now her night swim is interrupted by a Japanese submarine as opposed to a great white shark.  It is here that we are introduced to the military players, beginning with Captain Wild Bill Kelso, a reckless and trigger-happy fighter pilot played by John Belushi, who flies into Los Angeles believing an invasion is imminent.  As news of the submarine spreads, we meet Sergeant Frank Tree (portrayed by Dan Aykroyd in his first film role) and his ragtag group of soldiers, scrambling to prepare the city for its defense, and Major General Joseph Stilwell, attempting to calm the public by sending his top aide and secretary to retrieve the latest intel from Barstow.

Meanwhile, on the civilian front, dishwasher and amateur dancer Wally Stephens attempts to woo USO worker Betty Douglas despite her father’s strict opposition, as her father Ward prepares his home and family for a full-scale attack.  The movie’s set-up ends with the submarine crew’s attempts to locate their target of Hollywood, unwittingly setting the stage for ensuing chaos and misadventures across the city.  Plotlines converge, in a series of comedic misunderstandings and frantic scenarios.

The action first peaks with the elaborate USO sequence, where a lively event spirals out of control as tensions between soldiers and civilians boil over.  Highlighted by big band music, energetic swing dancing, and hundreds of partygoing extras, the dance quickly descends into a chaotic brawl, complete with wild choreography and physical humor.  Amidst the mayhem, the ballroom is destroyed and the anarchy spills into the streets, embodying the film’s theme of escalating chaos amid the absurdity of wartime hysteria.

Once out on Hollywood Boulevard, the full scope of the film is best achieved, as Stilwell’s aide and secretary commandeer a plane which is mistakenly identified as an enemy aircraft by Kelso, resulting in an aerial chase above the iconic landmark-laden street.  The dogfight ends with Stilwell’s plane crash-landing in the La Brea tar pits, as Kelso celebrates his victory against his supposed combatant by turning his focus to the ever more threatening Japanese submarine.  Featuring some of the best use of miniatures in cinema, the entire sequence is a visual feast, underscored throughout by John William’s intricate and imaginative score as well as William Fraker’s brilliant cinematography and practical special effects.

As the plot hurtles toward its resolution, the hysteria continues to escalate, and ultimately Spielberg’s intentions collapse under the weight of his ambitious blend of comedy, action, and satire.  For while it showcases his masterful technical prowess and unparalleled ability to handle large-scale, high-concept filmmaking, the final comedic product is just not funny, and that is its fatal flaw.  Despite its audacious style and memorable set pieces, in the end its uneven tone and over-the top slapstick finally leaves the viewer exhausted rather than entertained.

Like “Sorcerer” and “New York, New York” before it, “1941” represents an ambitious project from a director at the peak of his creative power aiming to push his boundaries by tackling an as-yet unexplored genre.  But while each film suffers from a lack of focus and tonal imbalance that hindered their initial critical and commercial acceptance, both “Sorcerer” and “New York, New York” retain an innate sense of artistic purpose and thematic depth which allowed them to find further appreciation over time.  In contrast, “1941” is overwhelmed by its own chaotic energy, making it difficult for audiences to connect with the story or its characters, inspiring admiration but not enjoyment.

To his credit, Spielberg realized the issues in previews, as audience laughter at the film’s opening parody turned to indifference at each set piece’s hijinks and later disdain at the movie’s hyperactive closing, with viewers visibly covering their ears as the bedlam amplified on screen.  In hindsight, the movie’s kinetic energy was somewhat ahead of its time, and sadly represented the last time Spielberg would truly allow anarchy into his artistic process.  Controlling the atmosphere on his next sets with discipline and boundaries, future productions would return him to the zeitgeist and propel him to the highest levels of financial success and critical acclaim.

“1941” is most often regarded as an early misstep in Spielberg’s largely flawless career, marred by its initially hostile critical reception.  Despite a star-studded cast and high production value, the film’s over-the-top humor and lack of a coherent narrative failed to resonate with disappointed audiences.  However, it remains a bold and audacious attempt by a young and still rebellious director at a satirical wartime comedy, and demonstrated his willingness to take creative risks, paving the way for future cinematic successes by honing his ability to balance spectacle with storytelling.