I remember really looking forward to this movie when it came out. It was hyped like crazy and it starred pretty much everyone I thought was funny at the time. I also remember sitting there trying to will myself to laugh as it sunk in what a terrible movie it was.I recently re-watched it, and it's even worse than I remembered, because even the stuff that was mildly entertaining 40 years ago hasn't aged well.Where to start? One word: cocaine. That's the only thing that can possibly explain the frenetic misfire that is this movie. First of all, there's an absurd number of characters in an absurd number of subplots. On top of that, the subplots have bizarre details thrown in. For example, Treat Williams' "hilarious rapist" (rape is funny, right?) character has a weird phobia of eggs. What does this have to do with anything? Absolutely nothing.The movie relies excessively on Three Stooges-style spit takes and prat falls. There's also a lot of screaming: "Japs!", "Invasion!", "Someone help! (this guy is trying to rape me)".This time, I watched the extended version, and even at 2 1/2 hours (!!), it seemed like a lot of stuff was left out. A couple of the threads are wrung out in excruciating details while others seem to have missing chunks. There's a big build up to Warren Oats' appearance, but then it just comes and goes. Did he have more scenes on the cutting room floor? One guy has a ventriloquist's dummy for....some reason. Did they plan to do something more with it? like, something funny? How exactly did John Belushi end up flying around alone "looking for Japs"? So much of the humor is badly misplaced. I mentioned the attempted rape. We're not talking Brutus chasing Olive oil. We're talking Treat Williams dragging a woman under a car as she screams for help - and this is basically played for laughs, with another woman disappointed he's not trying to rape her. Also, the big fight is clearly supposed to be the zoot suit riots (which actually happened in 1943). There was absolutely nothing funny about those. Soldiers and white civilians were straight up assaulting Mexican-American youths while the authorities looked the other way, or even joined in. A solid half of the movie is devoted to destruction of property. In fact, I'm pretty sure Spielberg started with a list of who he wanted in the move and another list of the things he wanted to destroy and just sort of wrote the movie around them. All this destruction was impressive when the movie was made, but now the whole thing literally looks like a Universal Studios tour.I can't think of another example of this much talent being wasted in a single movie. There was all the hot comic talent at the time: Dan Ackroyd, John Candy, John Belushi, Tim Matheson, etc, and classic stars like Slim Pickens, Christopher Lee, and Japanese star Toshiro Mifune, and lots of other big names at the time, like Nancy Allen and Treat Williams. Not to mention a few characters recycled form Spielberg's other movies. Everyone was tripping over themselves to be in a Spielberg movie. It took real work for that cast of characters to turn in something this awful.Weirdly, John Williams' score is quite good. Too bad it wasn't used for a better movie.

I have a sneaking suspicion that Steven Spielberg must have seen and loved It's A Mad Mad Mad Mad World as a sixteen year old kid and resolved that if he became as big a movie name as Stanley Kramer he'd do a film just like it. In 1979 Spielberg succeeded admirably creating a chaotic classic about a very serious time.I doubt we're ever going to be ready for decades for a film like this about the days following the Twin Towers. Those were pretty scary days, especially on the Pacific coast where our fleet with the remarkable exception of the carriers was at the bottom of Pearl Harbor and who really knew where and how many the Japanese were following the attack in Hawaii. It should give you cold chills to think that if it was more than Toshiro Mifune lost submarine with German observer Christopher Lee on it that they would have been met with what we see in 1941. At the time our home defense on the Pacific Coast was commanded by Major General Joseph L. Stillwell known to all as Vinegar Joe. But he could be moved as we see as he takes in a screening of Dumbo which did come out around that time. Like It's A Mad Mad Mad Mad World the cast it populated with some of the great comedians and comic players of the time. At some point or other they all intersect in their comic defense of California under attack from the Japanese as surely as the world was under attack from Orson Welles's broadcast of War Of The Worlds.There are a lot of memorable performances where some serious players got to show a comic side and really get unrestrained. One example would be crazy National Guard colonel Warren Oates meeting up with equally crazy would be air ace John Belushi. Slim Pickens saves California by his Faux constipation, he really goes unrestrained. Tim Matheson as Stilwell's aide is as horny as he was in Animal House as he maps out a campaign to nail aviation buff Nancy Allen and winds up midair in a plane he knows not how to fly.Robert Stack plays Vinegar Joe Stilwell the only true character in 1941 and he plays it straight as a string. If he survived this bunch of lunatics, how come he couldn't get Chiang Kai-Shek off his duff and fight those Japanese who were really invading his country? Maybe duty in the Far East was a welcome relief for Stilwell, but not for long.Be eternally grateful that this was NOT the way it was in 1941 and sit back and enjoy.

Okay all you One-Star Wallys, you Gloomy Guses, you Debbie Downers, I'm going to explain this for the umpty-umpth time in thirty-five years: "1941" is slapstick comedy. It's a big, noisy mess. It's warped fun and nothing more. "1941" is not -- I repeat NOT -- your mature sophisti-comedy with Alan Alda and Ellen Burstyn with pithy nuances and lessons for the heart. You've got Eddie Deezen on a Ferris wheel, Ned Beatty on an artillery cannon, John Belushi on a P-40 Tomahawk, and Bobby Di Cicco on the make! You've got Slim Pickens reprising Major Kong, Robert Stack as a resolute General Stillwell, and Lorraine Gary as an hysterical housewife. There are soldiers, sailor, zoot-suiters, submarines, tanks, toilet jokes, paint factories, machine guns, rockets, explosions, and wild-eyed screaming close-ups. There's John Williams' bombastic orchestral score, there's boogie-woogie, swing, and close-harmony. There are rude ethnic stereotypes and sophomoric sex jokes. There are kicks in the shins and punches in the nose. There is no subtlety. None. If you're looking for any of that Woody Allen stuff, you might as well watch the Three Stooges for the character development and "Hamlet" for the pie fight. If you took "It's a Mad Mad Mad Mad World" and siphoned off the clever plot, you might get something like "1941." "1941" retains the riotous excitement Spielberg brought us with "Sugarland Express," but burns off the sorrow of "Sugarland," leaving pure intoxicated joy!I don't advocate substances either way, but you can still follow "1941" no matter how stoned or drunk you are. You will love it if you just want to take your mind off your troubles for a couple of hours. Just don't try to take it to film school, you'll only whine and fuss.

Hysterical Californians prepare for a Japanese invasion in the days after Pearl Harbor.Can you believe this cast? Robert Stack (in excellent makeup), John Belushi, Dan Aykroyd, Ned Beatty, John Candy, Christopher Lee, John Landis, Dick Miller, Nancy Allen, Eddie Deezen, Joe Flaherty and the list goes on. Even if this was not a good film (and it is) you should check it out to see a performance from some great actors.While the humor is relatively low (Kubrick allegedly called the film "great but not funny"), there are some nice moments featuring parodies of previous Spielberg films "Duel" and "Jaws". Great sense of humor, Mr. Spielberg.Today, the Zoot Suit Riot is probably best known as a song from Cherry Popping' Daddies. But it really occurred, and it has never looked better in fiction than it does in this film with a wonderfully long dance and fight sequence that is the centerpiece of the whole film.