1941 - Wo bitte geht's nach Hollywood?

Spielberg’s boorish variation on Dr. Strangelove (to which Slim Pickens’s character makes a direct reference) is similarly over-the-top as some of the overly ambitious ensemble war movies of the 1960s and ’70s (A Bridge Too Far, Tora! Tora! Tora!, The Longest Day). Compared to those, however, 1941 is well aware of its bombast and, starting with the opening scene in which it parodies Jaws from only four years previous, it makes it clear that the screenwriters and the director adhered to the motto “anything goes”. If “immoderation” remains the keyword throughout the film, it’s in an attempt to revive the anarchic legacy of slapstick and, at the same time, to present a hyperbolised version of what Hollywood usually does with historical facts (in line with the film’s self-deprecating humour, Hollywood is the main target of the Japanese submarine). 1941 is an assuredly false reconstruction of events that occurred (or didn’t occur) in L.A. in February 1942. While the general is watching Dumbo at the cinema, the soldiers are chasing girls and punching each other in the mouth instead of going after the enemy. As evidenced by contemporary reviews, American society was not prepared for this disparaging – “Italian”, if you like – depiction of war. However, disrespect for historical facts is not the film’s main problem (on the contrary, I was pleasantly surprised that Spielberg used American patriotism as a basis for pure farce). What’s more bothersome is the madcap chaining together of variously destructive misunderstandings, which gets old rather quickly due to its monotony, despite the skilful directing, decent tricks and outstanding music (which both ridicules and pays tribute to the soundtracks of serious war movies). There are no characters, let alone a plot line, that would unify the narrative, many of the sketches are drawn out and gratuitous, and overall the film is far less funny than it should/could be on paper. Despite that, it is a remarkable experience to watch 1941 as, for example, an imperfect prototype of current blockbusters, which also pile one attraction on top of another. Spielberg was (unsurprisingly) able to bring the poetics of animated slapstick (and many video games today) into a feature film more successfully only in the animated Tintin, in which the continuous action chaos seems much more organised. 60% (15.11.2015)

Je öfter ich mir 1941 anschaue, umso mehr gefällt er mir. Ich schätze vor allem die maßlos verspielte Prise Humor, die sich dem Zuschauer von Anfang bis Ende aufdrängt. Manche halten das aus, manche nicht. Jede Figur in diesem Film ist – man sehe mir bitte die Deutlichkeit nach – einfach ein Idiot, das Drehbuch ist unstimmig und es ist zu sehen, dass sich die Herren Zemeckis und Gale einfach alles ausdenken konnten, was sie wollten, denn Steven Spielberg hatte ein recht großzügiges Budget zur Verfügung (ganz zu schweigen von seiner eigenen Fantasie), sodass er ohne Probleme auch die verrücktesten Ideen umsetzen konnte. Aus der Schauspielerbesetzung unterhielten mich der Kapitän des japanischen U-Bootes Toshiro Mifune und sein deutscher Aufpasser Christopher Lee am zuverlässigsten, und wenn ich die beste Szene auswählen müsste, wäre es wahrscheinlich die Tanzszene, die zu einer Schlägerei unglaublichen Ausmaßes auswächst. Die Spitzen-Filmmusik von John Williams muss ich nicht extra erwähnen. P.S. Ich würde bei der erweiterten Version wahrscheinlich einen oder zwei Sterne weniger geben, weil sich der Film wirklich unnötig hinzieht und der Untergang einfach an Bedeutung verliert. (12.10.2007)

In the context of Spielberg the perfectionist and micromanager, an interestingly incoherent and unguarded screwball comedy where you can smell the Zemeckis/Gale combo a lot more. Spielberg, with his multi-plane shots and knack for visual comedy (to the detriment of any other) is not a bad director for such material, but the problem is the somewhat muddled script with its endless cameos and overwrought episodes. The Director's Cut therefore wasn't really needed, as the longer running time doesn't really help; not to mention the inclusion of scenes that the rest of the film then doesn't carry forward (the chase through the dye house), making it even more nonsense. And watch out, Zemeckis dragged Eddie Deezen and Wendie Jo Sperber in there. Brrr. (21.11.2021)

Steven Spielberg has a sense of storytelling, and this time he chose a script that had a lot of interesting elements. The script was heavily influenced by "Dr. Strangelove", but Spielberg didn't touch it in any way. Kubrick, on the other hand, made a brilliant film against this backdrop, but "1941" cannot be underestimated. It has its moments and is directed with certainty. (30.11.2015)