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Wild Bill and La-La Land Records Wants You to See and Hear 1941!
Greetings! ScoreKeeper here flying high on patrol of Los Angeles to provide you a stern warning that an awesome invasion force is rapidly approaching.
The army of La-La Land Records is at it again. On September 27th, 2011, a 2-CD re-issue of John Williams' complete score for 1941 (1979) will invade the United States! Your best shot at establishing an adequate defense is to attend a very special 35mm screening of Steven Spielberg's 1941 on Sunday, September 25th, 2011, at The Cinefamily in Hollywood, California. Tickets for this rare screening are only $10 and its expected to sell-out fast!
The film will be followed by a Q&A panel of special guests and copies of the soundtrack will be available on hand for $30. After that, whatever is left of the 3,000 unit invasion force will be sold off to the general public. This will be not pretty but it's going to sound oh so good!
I absolutely adore this score! John Williams' infectious main theme is one of the best he's written. There's no time to waste. Sound the alarm!
Let me hear your guns!
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Readers Talkback
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honestly, am i?
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It is a pretty sweet score though..I'd be there if I could.
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true.
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Have never seen it all the way through, I mean. I too hang my head in shame... *cue the Charlie Brown Christmas music*
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Finally can rid meesa of the non anamorphic atrocity that is the DVD. Great doc though On there
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It's a great big glorious mess but damn it gave it's frenzied all. Wish I could say as much for The Color Purple
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Sept. 7, 2011, 9:51 p.m. CST
Ein-ein-ein-ein-ein-ein-ein-ein-ein-ein-ein-ein-ein-ein-ein-ein-ein-ein-ein-ein-ein-ein-ein-ein-ein-ein-ein-ein-ein-ein-ein-ein-ein-ein-ein-ein-ein-ein-ein-ein-ein
by Kamaji
In a strange sense, 1941 feels like a Michael Bay movie, before Michael Bay. We talk about Bay having a big love of explosions, well 1941 was Spielberg being that kid in a candy store. Of course, one wonders if a blu-ray release will have both the theatrical AND extended cuts. I've kind of gotten used to the extended cut in places. Now this is a soundtrack that I'd drop money on. Been wavering on that single-CD release for years, but with this release, it'll have to be mine. This is one of those films that my Dad got a kick out of. He got most of the jokes and I remember him just loving the gag with the house at the end. I kind of wish someone would do for the post-9/11 hysteria what 1941 made fun of regarding the post-Pearl Harbor fear. One could imagine someone being as war-hysterical as Ward Douglas was in 1941...maybe attempting to blow shoot his wife because she comes out of the bathroom with her hair wrapped in a towel.
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Always, and Hook round out the pack.
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... 3,000 just isn't enough. If you have 100 John Williams fans in every second state, you can imagine how fast that sells out in America, let alone around the world with an Internet sale. I already have the original 1941 Varese OST and the 1941 promo score in lossless format, so if I miss out on this blatant CD shortage, it's not a big deal.
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Sept. 7, 2011, 10:06 p.m. CST
d.vader, I agree it's hard to watch 1941 all the way through...
by justmyluck
...though, I've made it through in bits and pieces more than a few times. I do appreciate 1941 overall, but the endless screaming and stupidity is hard to take in one sitting.
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Shoulda been more clear. I've seen bits and pieces of the end on television, but that's all. I bought the DVD in a $5 bin last year. But I'm afraid to start it up from the beginning. So afraid.
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While they were making HOOK and having difficulties on the set, Robin Williams looked directly into the camera during a two shot with Dustin Hoffman and said "Please Help Us. I was in POPEYE and THE SURVIVORS." Dustin Hoffman said "What are you complaining about? I was in ISHTAR and FAMILY BUSINESS." And Spielberg leaped from behind the camera into the shot and yelled "And I directed 1941!"
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"Jesus Palomino... A NATZY!!! I knew it! Yer ALL in cahoots!" Sure it's a wild hit and miss flick, but the laughs that we remember are the ones that make the rest of the bullshit worth sitting through.
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I'm sorry, I just can't hate any movie that has Christopher Lee and Toshiro Mifune as feuding Axis commanders.
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1941 was loud. Really, really loud. It starts loud and ends even louder, an ever accelerating crescendo. The stellar cast spends quite a bit of the film screaming at the top of their lungs. The effects are deafening and spectacular. And I loved it. I think it's funny and gripping in the way that I can't stop watching it once it starts. It was supposed to be over the top! Hyped from the get-go (with one of the best teasers ever shot featuring Belushi), it was the Beard's stab at broad, raunchy, comedy. It ended up being something... else. The fucking thing is seriously epic. It's Herman Wouk epic. David Lean epic. It is also just plain goofy. The cast is totally amazing! Warren Oates, Robert Stack, Ned Beatty, and my God, so many more! There's a great rare quiet moment with Stack watching Dumbo. I gotta have it on Blu at some point soon. Audiences of the 70's didn't know what to make of it. I think it would play very well to today's audience (teen punks weened off Michael Bay's tit). And yes, the score is wonderful.
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Great score too!
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Belushi and Slim Pickens, 'nuff said!
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In Stephen Spielbergs words it is 'a total conceptual disaster'. And a really bad movie to bad. Yeah, Pearl Harbor comedy. What could go wrong?
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Neither are Hook and Always, but they're way above any of Lucas' prequels or Crystal Skull (a pie in which the latter more than likely stuck too many of his little pinkies into)
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...does the job.
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Sept. 8, 2011, 12:34 a.m. CST
Directed by Spielberg, written by Zemeckis, scored by Williams. The film might've died on impact, but it was buried in a very nice suit.
by little_lebowski
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1941 is in dire need of a restoration/remaster. The dvd wasn't even anamorphic. If the screening shows a great looking print, than perhaps this means we could be looking at a special edition Blu-ray down the line.
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but Always is pretty damn good and Hook is a fucking masterpiece.
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people are claiming it's "un-cropped" to me, it looks like the original image has been stretched... opinions? http://www.dvdbeaver.com/film/dvdcompare/citizenkane.htm
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If you have Photoshop (or equivalent) it's easy to scale-up and overlay the old DVD captures on top of the Blu-ray captures and have a look. Having done that, there isn't much stretching between the old Warner DVD and the new Warner Region Blu-ray. That comparison done, the new Warner Blu-ray appears horizontally stretched a bit in comparison to the old Universal PAL DVD transfer. Hope that helps. The Blu-ray transfer does look great.
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Sept. 8, 2011, 7:28 a.m. CST
Come back next week and we'll bring in some negroes for a race riot
by Crimson Dynamo
Funniest line in the movie
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...can be found on Williams' By Request... CD. It's crisp, clear, and bombastic.
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Can't really defend it, but I do.
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I love this movie. I don't know how much of it is nostalgia, but I loved this movie. John Belushi, Nancy Allen, Warren Oats, Treat Williams, Nancy Allen, Ned Beatty. Christopher Lee and Toshiro Mifune! Robert Stack was in this movie. And Dan Ackroyd and John Candy . . . what a frickin' magical film. The score was brilliant, the practical model work (of which there is a ton in this movie) is obvious, yet supremely satisfying at the same time. Nancy Allen as the hot chick only turned on by planes . . . Slim Pickens, Wendie Jo Sperber. Dick Miller (Murray Futterman!) makes an appearance. Joe Flaherty and Michael McKean both show up, and so does (believe it or not) Mickey Rourke (it's true!). James Caan is even a sailor in the fight scene (blink and you miss it). Penny Marshall shows up. Great soundtrack, great nostalgia beats, great practical model work, and great cinematography, and some great scenes--the whole opening sequence with Wild Bill Kelso filing up his airplane at a filling station. The scene at the end (spoiler!) where Ned Beatty nails a wreath up on the door of his battered house, only to have the entire house slide into the sea. The dance off, the tanking rolling through the city, the ferris wheel being blasted off it's base and rolling down the dock . . .
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Sept. 8, 2011, 8:02 a.m. CST
Nance Allen: So Good (In that movie) I Said it Twice
by kevinwillis.net
Of course, I think Always (even the strange, hard-to-buy casting of Richad Dreyfuss as a hot-shot fire pilot) is a classic. Back when Spielberg still shot everything with this brilliant, careful eye . . . compare War of the Worlds to Always and tell me Always (and 1941) aren't from a period where Speilberg actually cared where the camera was and what it was doing.
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Sept. 8, 2011, 8:05 a.m. CST
kevinwillis.net-Actually I think Spielberg still has it
by Samuel Fulmer
In the framing department, I just think his cinematography with Kaminski tends to go with too much hot/warm lighting that it makes everything and everyone look all glowy.
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It really doesn't age well. If it isn't cleaned up and restored, it turns washed out and blurry. If it's a pristine or restored print, I'm happy.
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This is a good Williams score, from that period of 1977-1984 where almost every score he did was excellent. Here's hoping The Fury gets a re-release from one of these specialty soundtrack companies (the last one done back in 2003 was a limited deal like this one, and it's been long out of print).
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The film was cut by the studio and then released uncut on laserdisc, so which will be screened?
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Since I don't think an actual film print of the uncut 1941 even exists. From watching the dvd (which was basically a port of the deluxe laserdisc from the mid-90's), a lot of the cut footage integrated in is of even lower visual quality (which is saying something) than the original protions of the film. You can even tell many times when the cut portion is starting because there are little flash frames and white lights on the bottom of the frame. I think the uncut version was probably just cut together on high quality video.
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I wonder if they left in the scratches that Welles intended for the news on the march footage? They were cleaned up on the last DVD.
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You need to take your meds, sweetie--or loan me some. Whichever.
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I ripped cuts off an old LP of this soundtrack way back when and still love a lot of it. The swing music from the dance hall brawl scene is inspired and the classic war movie marches are all there. Great to see La-La dig this up. Oh, received my copy of the Nate and Hayes CD and I'm loving it! One of my favorite guilty pleasure films.
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Sept. 8, 2011, 8:50 a.m. CST
They should have had an outdoor screening in the alfalfa fields of Pomona.
by Karl Hungus
I absolutely LOVE this film. It's a massive trainwreck of a movie but it's brilliant it's lunacy and over-the-top filmmaking. And that cast is astounding. Plus, more to the point of this thread, John Williams' score is sensational. I wish Spielberg was kinder to both 1941 and Temple of Doom. He did a fantastic job directing both. Just because they're not perceived as successes doesn't mean he should publicly disown them. They're his two most underrated films.
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...called 2001 - lets go crazy again...
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It came across as Speilberg trying REALLY hard to tap into the Animal House/Sat Live in its prime fun going on. "Hey lets get Belushi in this thing and make him wasted slob". He was shooting for Animal House and we got were lousy jokes with no laughs and that Jerry Lewis look alike helium screemer kid stuck on a Ferris Wheel. I will say great cast. Good job getting everyone in there so they could throw shit around and bore us to death.
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Don't spoil the mystery by actually watching it. It just doesn't work. Its reputation as a dud is pretty well deserved. But we can cut the man a break. He last movie prior to 1941 was one of the greatest films of all time, as was the the film he made immediately after it.
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Sept. 9, 2011, 1:21 a.m. CST
I've been sitting on this AICN name for over 10 years so now... a love letter to 1941...
by wildbillkelso
Dear “1941,” You are fantastic. God, you are utterly fantastic. I have seen you, in your entirety, more times than Lindelof's seen Raiders. I can't imagine there are a lot of people who'd admit to having seen you more though I think you're one of those movies that people don't want to admit that they watch when you're on. I really know you. I know that you're faint at the sight of your own blood, that you hate eggs and that you really, really like planes. And I’m sorry if that seems a little “creepy,” but hey, we both can't stand seeing Americans fighting Americans, so we’re speaking the same language, are we not? So what, exactly, is it that I love most about you, “1941”? Man … I don’t even know where to start. But I'll get a few of the obvious items over with. A cast of thousands. Putting Belushi and Warren Oates in the same scene just because. Your score. One of Williams' best and surely the most fun. Explosions in the credits man. Explosions! Credits! Models. Hundreds and hundreds of models flying, driving, submarining, rolling down the pier, showing the LA skyline, shooting the LA skyline, burning the LA skyline, destroying the LA skyline. I along with countless other ten year olds who spent their summer of 1979 building and destroying worlds made up of hot wheels, Revel models and painted shoeboxes saw you and were in awe. With each subsequent viewing taking us from 'how did they do that?' to 'I want to do that'. You were an example of the same craft that I did at home, and those guys in the Starwars Making Of Specials did to create fantasy worlds but you showed us that you could build a realistic recreation of something on the same scale. Mad Cap. I'm not sure if everyone had cable but back in 1979 my Saturday afternoons were not filled with recent programming. I grew up with television by airwave, local stations who bought up and ran cheap programming, with weekends being reserved for older fare and plenty of classic madcap comedy. My Saturday's were filled with Our Gang, I Love Lucy and It's a Mad Mad Mad Mad World. Being 10 and not quite having a reverence yet for SCTV/SNL/National Lampoon, it was your tribute to the era of the madcap comedy that brought me in and introduced me to Belushi and Aykroyd, thankfully. I knew Wild Bill before I knew Bluto, and Sgt. Frank Tree before I knew Yortuk Festrunk. I thank you for giving me reason to beg to stay up late on Saturday Night's to get more of comics like this. Now that the gushing is over, just a few more things that some people miss and what we are truly indebted to you for... The two Bob's. Gale and Zemeckis. You weren't their first but you were their first crack at a big time knockout. A chance to impress and try out their best moves. Interwoven layers of plotline, dialog and characters all dependent on perfect timing and on the grandest scale Universal could afford. You were the grounds from which a template for perfection in a script were achieved shortly thereafter with Back to the Future. Bringing Steven back to Earth. Okay you aren't considered by most to be his best. Many call you a turkey. I think though that you may have given Steven his best filmmaking lesson ever, where to draw the line and when toeing it, knowing just how close to the edge to push it before the house falls over the cliff into the sea. You didn't need that line, you let Steven have his way with you and thats fine, maybe it was something to get out of his system. If not for you, this immaturity likely would have found it's way onto screen in his next movie, an equally ambitious, grand scale, big budget recreation of classic serials with incredible scene leading increduously to the next incredible scene. Raiders was cast from a mold that encouraged this (and showed it to a higher degree in its three sequels) but there was something that held Steven back on Raiders, I believe it was what he learned from you. It's what made it probably the best movie (okay second best) ever made. Warren Oates sums you up best in one line, "Show me your guns son". And you do. From start to finish you take this request and with childish glee you do so, over and over, escalating to the point of rolling yourself down a pier and right into the ocean. You do not let up, the pay off with you is in seeing how far you will go. And that is how I shall always remember you. Showing me your guns. Because I asked you son. Because you are the craziest son of a bitch I've ever seen. I love you. Always have. Always will. And I am deeply grateful for the countless hours we have spent together. I will treasure them more than you can ever know. Your Biggest Fan, –Z
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For the film and John Williams' astounding march: http://www.youtube.com/watch?v=bKGr2M2JGQU
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