Hysteria grips California in the wake of the bombing of Pearl Harbor. An assorted group of defenders attempt to make the coast defensible against an imagined Japanese invasion, in this big budget, big cast comedy. Members of a Japanese submarine crew scout out the madness, along with a Captain in Germany's Kreigsmarine (Navy).
Hysterical Californians prepare for a Japanese invasion in the days after Pearl Harbor.
At the time he made this colossal turkey, Steven Spielberg was the new wunderkind on the block and after the massive successes of &quot;Jaws&quot; and &quot;Close Encounters…&quot;, it seemed he couldn&#39;t miss. Armed with a massive budget (and trust me, you can see every dollar spent on the screen), with pet writer Robert Zemeckis on scripting duties he must have thought he couldn&#39;t go wrong. Unfortunately it&#39;s more a case of what could go right in this unfunny monument to excess, so bad is it, in fact, that the director has never attempted a full-out comedy ever since.<br/><br/>The premise of a rogue Japanese submarine, unaccountably with a German staff officer on board too, invading Hollywood is dumb, while the side by side, I hesitate to call them stories of a bullying tough-guy soldier terrorising a young jitterbugging couple, an out-of-his-box fighter pilot seeking a dog-fight every time he gets in the cockpit and lastly the misadventures of a frigid beauty who only gets turned on when in the vicinity of a plane are hackneyed and infantile. The U.S. teenage magazine &quot;Mad&quot; I think had to be an inspiration for this mess, hardly the basis for screen comedy (c.f. &quot;Howard The Duck&quot;).<br/><br/>There are no characters worthy of the description in the entire movie, no central person to follow and most importantly no worthwhile jokes to make the viewer smile, never mind laugh. Spielberg&#39;s idea of the punch-line to a scene is to offer up a cast of thousands and a lot of bangs, crashes and explosions.<br/><br/>With mediocre acting too, this really is a plane-crash of a movie, once seen, instantly forgotten, as unfunny a comedy as the later &quot;Pearl Harbour&quot;, on a similar subject was an unintentionally funny drama, these two wrongs not making a right!<br/><br/>War really is hell, as the saying goes - ditto this awfully bad movie.
Very loud, very big and very funny fictional account of a supposed Japanese invasion of Los Angeles in 1941, after the bombing of Pearl Harbor. There are many plotlines throughout the film–too many to summarize here. Basically, this is the most unusual Spielberg film I&#39;ve ever seen (and his only bomb). It&#39;s from the bigger is funnier school of humor–Spielberg&#39;s only big comedy. There&#39;s lots of gunfire, lots of fights, lots of screaming (in full stereo) and tons of destruction (an entire amusement park is destroyed, a few city blocks of Los Angeles and a big beautiful house). As for the acting–it varies wildly. Tim Matheson plays a lt. who has the hots for Nancy Allen who only gets excited in moving planes–they&#39;re both cute and funny. Dan Aykroyd is wasted. John Belushi is annoying. Robert Stack is amusing. Ned Beatty and Lorraine Gary are funny, but underused. Treat Williams is violent and very unfunny. And where else can you see Christopher Lee play a German? The film is too long (I saw the 2 1/2 director&#39;s cut) and it doesn&#39;t always work…but when it does, it&#39;s hilarious! A definite highlight is the jitterbug sequence–unfortunately, it has a violent conclusion in which a very likable character is punched out three times. Terrific John Williams score too. The ending credits are quite interesting–it shows each cast character screaming! You may hate this film, but it&#39;s definetely a one of a kind. It&#39;s a cult classic in Europe.
Billed as a comedy spectacle, Steven Spielberg’s 1941 is long on spectacle, but short on comedy. The Universal-Columbia Pictures co-production is an exceedingly entertaining, fast-moving revision of 1940s war hysteria in Los Angeles spawned by the bombing of Pearl Harbor, and boasts Hollywood’s finest miniature and special effects work seen to date.
The Director&#39;s Cut of this early Spielberg flick runs approx. 27 minutes longer than the old Theatrical Version and features several blocks of new scenes throughout the time. Nearly 27 scenes were added or altered and sometimes alternate material was used as well.
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