Icarus File #25: 1941 (dir by Steven Spielberg)


In the year 1979, a young Steven Spielberg attempted to conquer comedy in the same way that he previously conquered horror with Jaws and science fiction with Close Encounters of The Third Kind.  Working from a script written by Robert Zemeckis and Bob Gale, Spielberg made a film about the days immediately following Japan’s attack on Pearl Harbor.  The name of the film was 1941 and it remains Steven Spielberg’s only attempt to direct a full-out comedy.  There’s a reason for that.

The film follows a large group of characters over the course of one day and night in 1941.  It’s been six days since Pearl Harbor was attacked and the streets of Los Angeles are full of young men who are preparing to ship out and older man who are paranoid about when the next attack is going to come.  However, Major General Joseph Stilwell (Robert Stack) just wants to see Dumbo at the local theater.  Meanwhile, his womanizing aide (Tim Matheson, giving the same performance here that he did in National Lampoon’s Animal House) just wants to get Stillwell’s aviation-lusting secretary (Nancy Allen) into an airplane.

Elsewhere, Ward Douglas (Ned Beatty) is happy to allow Sgt. Tree (Dan Aykroyd) and his men (including John Candy) to set up on an anti-aircraft gun in his front yard.  Ward’s daughter, Betty (Dianne Kay), is only concerned about entering a dance contest with her friend, Maxine (Wendie Jo Sperber).  Cpl. Sitarski (Treat Williams) and dishwasher Wally Stephens (Bobby D iCicco) both hope to be Betty’s partner and their rivalry leads to a massive (and seemingly never-ending) brawl.

While Ward deals with the gun in his front yard, another concerned citizen — Claude Crumm (Murray Hamilton) — keeps watch from atop of Ferris wheel, along with amateur ventriloquist Herbie Kazlminsky (Eddie Deezen).

But that’s not all!  Susan Backilinie recreates her role from a previous Spielberg film, skinny dipping while the Jaws theme plays in the background and running straight into a submarine that is commanded by Commander Akiro Mitamura (Toshiro Mifune, trying to maintain his dignity).  Mifune decides to attack Hollywood but no one on the submarine is sure where that is.  Christopher Lee appears as an arrogant German who is along for the ride.  Slim Pickens shows up as a lumberjack who is temporarily captured by the Japanese.  John Belushi plays Wild Bill Kelso, who flies his airplane through Los Angeles.  Warren Oates yells and laughs.  Dick Miller, Elijah Cook Jr. and Lionel Stander show up in small roles.

“Since when is Steven funny?”  According to Peter Biskind’s Easy Riders, Raging Bulls, this was the reaction that most of Spielberg’s friends had when he announced that his next film would be a screwball comedy set during World War II.  Watching the film, one gets their point.  The majority of the film’s humor comes from people looking at the camera and screaming.  There’s a lot physical comedy, which would undoubtedly work in small amounts but which grows rather tiring when it’s dragged out to the extent that Spielberg’s drags it out.  (A brawl at a USO show seems like it should be funny but Spielberg allows it to go on for too long and the careful choreography takes away any element of spontaneity.)  The film attempts to duplicate the style of Animal House (and it’s probably not a coincidence that Matheson, Belushi, and director John Landis all have roles in the film) but Spielberg often seems as if he’s trying too hard.  There’s nothing subversive about the humor.  It’s more antic than funny.

A huge problem is that there really isn’t much of a story here.  Spielberg, who is normally one of Hollywood’s best storytellers, attempts to do a loose, Altman-style ensemble film and the result is that none of the characters feel alive and there’s never any sense of narrative momentum.  There are a few performers who manage to make an impression amongst all the explosions and the yelling.  John Belushi has the advantage of not having to share the majority of his scenes with anyone else.  Warren Oates’s manic energy is more than welcome.  Wendie Jo Sperber deserved more screentime.  Murray Hamilton and Eddie Deezen frequently made me laugh.  There’s a wonderful moment where Robert Stack’s intense general cries while watching Dumbo.  But, for the most part, the film never comes together.

That said, 1941 is definitely a Steven Spielberg film.  It received three Academy Award nominations, for Cinematography, Sound, and Visual Effects.  (All three of those categories, not surprisingly, are more associated with spectacle than with comedy.)  The film looks great!  Spielberg’s attention to detail is there in the production design and the costumes.  Watching 1941, you can see Spielberg’s talent while also seeing why he never directed another comedy.

Previous Icarus Files:

  1. Cloud Atlas
  2. Maximum Overdrive
  3. Glass
  4. Captive State
  5. Mother!
  6. The Man Who Killed Don Quixote
  7. Last Days
  8. Plan 9 From Outer Space
  9. The Last Movie
  10. 88
  11. The Bonfire of the Vanities
  12. Birdemic
  13. Birdemic 2: The Resurrection 
  14. Last Exit To Brooklyn
  15. Glen or Glenda
  16. The Assassination of Trotsky
  17. Che!
  18. Brewster McCloud
  19. American Traitor: The Trial of Axis Sally
  20. Tough Guys Don’t Dance
  21. Reach Me
  22. Revolution
  23. The Last Tycoon

6 Shots From 6 Films: Special Steven Spielberg Edition


4 Shots From 4 Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films is all about letting the visuals do the talking.

Today, we wish a happy birthday to director Steven Spielberg!  It’s time for….

6 Shots From 6 Films

Duel (1971, dir by Steven Speilberg, DP: Jack Marta)

Jaws (1975, dir. by Steven Spielberg, DP: Bill Butler)

Close Encounters of the Third Kind (1977, dir by Steven Spielberg, DP: Vilmos Zsigmond)

1941 (directed by Steven Spielberg, DP: William Fraker)

Schindler’s List (1993, dir by Steven Spielberg, DP: Janusz Kamiński)

Saving Private Ryan (1998, dir by Steven Spielberg, DP: Janusz Kamiński)

 

Spielberg delves into Sci-Fi again with the Disclosure Day Teaser


Spielberg. Williams. Koepp. Kaminski. What the heck is Disclosure Day?

The teaser trailer for Steven Spielberg’s Disclosure Day hit my phone via Letterbox’d. This is connected to those weird X-Files looking posters I’ve been seeing as of late. It looks like another film with aliens, similar to Close Encounters of the Third Kind with a dash of Zemekis’ Contact or sprinkle of Villeneuve’s Arrival. The film stars Josh O’Connor (Wake Up Dead Man: A Knives Out Mystery), Emily Blunt (Jungle Cruise), Colin Firth (Kingsman), Coleman Domingo (The Running Man), Wyatt Russell (Marvel’s Thunderbolts), and Eve Newson (Robin Hood).

Spielberg and Koepp have a good track record together with the Jurassic Park films, and it’a always good to see a pairing with John Williams. Still, this all looks really weird. Either way, we’ll find out when the film is released next June.

Enjoy!

Review: Saving Private Ryan (dir. by Steven Spielberg)


“Someday we might look back on this and decide that Saving Private Ryan was the one decent thing we were able to pull out of this whole godawful, shitty mess.” — Sergeant Horvath

Saving Private Ryan stands as a landmark achievement in war cinema, intricately weaving immersive battle scenes, rich character dynamics, and profound moral themes into a nearly three-hour exploration of World War II’s human cost. One of its most remarkable features is the opening Omaha Beach landing sequence, a meticulously crafted, over 24-minute depiction of warfare’s brutal reality. Spielberg deploys a cinema verité style with handheld cameras capturing disorientation and chaos through the soldiers’ eyes. The sound design envelops the viewer in a sensory onslaught—gunfire, shouting, explosions—creating a visceral experience that immerses audiences directly in the terror and confusion of D-Day.

The filming process drew heavily on historical accuracy, with the production shot on the coast of County Wexford, Ireland, employing amputee actors and practical effects over computer graphics to simulate violent injuries and battlefield horrors. Muted tones evoke wartime photographs, and rapid, shaky editing conveys the disorganized, frantic environment soldiers endured. Consulting WWII veterans and historians, Spielberg created a sequence that reshaped cinematic portrayals of war, influencing how future films would approach the genre’s raw immediacy and emotional weight.

The film’s narrative follows a squad led by Captain Miller on a mission to locate and bring home Private James Ryan, whose three brothers have been killed in combat. The mission is steeped in the real-life tragedy of the five Sullivan brothers who died together aboard the USS Juneau in the Pacific, prompting military policies to prevent similar familial devastation. This historical context frames the story’s ethical heart: risking several men’s lives to save one, raising enduring questions about the value of individual sacrifice within the broader war.

In Saving Private Ryan, sacrifice is portrayed ambiguously—not as the sacrifice of a single hero but as the collective cost borne by the men tasked with rescuing one individual under perilous conditions. As the squad journeys through the war-torn French countryside, the deaths, injuries, and tensions they face underscore war’s randomness and the difficulty of weighing one life against many. The narrative refuses to romanticize or simplify, instead confronting the audience with the tragic truth that countless soldiers lose their lives without recognition or purpose, while some survive against staggering odds.

Duty and camaraderie thread throughout the film, portrayed through the soldiers’ evolving relationships and personal struggles. Each grapples with loyalty not only to their mission but to their fellow men and their own moral codes.

Integral to the film’s power is Tom Hanks’s layered performance as Captain John Miller. Hanks breathes life and emotional depth into Miller, portraying him as a man shaped by civilian life—revealed poignantly when he discloses his pre-war profession as a schoolteacher—now transformed by the relentless demands of war. He embodies an officer who is both composed and vulnerable, carrying the heavy burden of leadership with quiet dignity. Hanks’s portrayal reveals the internal struggles beneath Miller’s stoic exterior: moments of doubt, moral conflict, and fatigue subtly expressed through a trembling hand or a weary gaze. This humanity makes Miller relatable, as a man trying to maintain order and purpose amid chaos.

Hanks skillfully balances Miller’s authoritative presence with warmth and empathy, particularly evident in his paternal interactions with younger soldiers, reinforcing Miller’s role as both a leader and protector. His nuanced acting delivers the complexity of a man constantly negotiating duty and compassion. In scenes of high tension or moral quandaries, Hanks conveys the weight of command while allowing glimpses into Miller’s psychological strain, deepening the film’s emotional resonance.

Following Hanks’s Miller, a standout amongst the supporting cast is Tom Sizemore’s portrayal of Technical Sergeant Mike Horvath, Miller’s steady second-in-command. Sizemore embodies the pragmatic, battle-hardened soldier whose loyalty and experience provide emotional grounding for the squad. Sizemore portrays Horvath’s weariness and quiet commitment, adding layers of realism that deepen the exploration of how war reshapes individuals. The chemistry and shared history between Miller and Horvath are palpable, illustrating the bonds that sustain soldiers through hardship and lending emotional weight to the narrative.

The film wrestles with intense moral ambiguity throughout. The mission’s premise—to risk many lives to save one—compels both characters and viewers to confront complex questions about justice, value, and the cost of war. Scenes presenting difficult choices, such as the decision to spare or execute prisoners, dramatize these ethical dilemmas and highlight the emotional burdens borne by soldiers.

Technically, the film excels, with Janusz Kaminski’s dynamic cinematography capturing both the chaos of battle and intimate moments with evocative clarity. The immersive sound design reinforces the brutal reality, stripping warfare of glamor and confronting audiences with its daunting human costs.

Despite the overwhelming destruction and loss, Saving Private Ryan offers moments of humanity and hope. The rescue mission serves as a fragile symbol of compassion in the midst of devastation, while the film’s closing reflections on memory and legacy emphasize the lasting significance of sacrifice and survival.

Saving Private Ryan stands as a monumental achievement in the war genre, combining visceral combat realism, compelling characters, and moral complexity. Through Hanks’s deeply human Captain Miller and the nuanced supporting performances, especially Sizemore’s grounded Horvath, the film explores themes of sacrifice, duty, and brotherhood with unflinching honesty. Its enduring legacy lies in its unvarnished yet empathetic portrayal of war’s cost and the profound sacrifices made by those who lived it.

4 Shots From 4 Films: Thank You For Your Service


4 Or More Shots From 4 Or More Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking!

4 Shots From 4 Films

 

Sands of Iwo Jima (1949, Dir by Allan Dwan)

The Big Red One (1980, Dir by Sam Fuller)

Saving Private Ryan (1998, Dir by Steven Spielberg)

13 Hours: The Secret Soldiers of Benghazi (2016, Dir. by Michael Bay)

4 Shots From 4 Horror Films: The 1970s Part Two


This October, I’m going to be doing something a little bit different with my contribution to 4 Shots From 4 Films.  I’m going to be taking a little chronological tour of the history of horror cinema, moving from decade to decade.

Today, we continue with the 70s!

4 Shots From 4 Horror Films

The Texas Chainsaw Massacre (1974, dir by Tobe Hooper)

The Texas Chainsaw Massacre (1974, dir by Tobe Hooper)

Jaws (1975, dir by Steven Spielberg)

Jaws (1975, dir by Steven Spielberg)

Carrie (1976, dir by Brian DePalma)

Carrie (1976, dir by Brian DePalma)

The Omen (1976, dir by Richard Donner)

The Omen (1976, dir by Richard Donner)

4 Shots From 4 Films: Special Intergalactic Edition


4 Or More Shots From 4 Or More Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking!

Today’s let celebrate life in space!

4 Shots From 4 Intergalactic Films

Close Encounters of the Third Kind (1977, dir by Steven Spielberg, DP: Vilmos Zsigmond)

Star Wars: A New Hope (1977, Dir. by George Lucas, DP: Gilbert Taylor)

Starcrash (1978, dir by Luigi Cozzi, DP: Paul Beeson and Roberto D’Ettorre Piazzoli)

Dune (1984, dir by David Lynch, DP: Freddie Francis)

4 Shots From 4 Films: Special Jaws Edition


4 Or More Shots From 4 Or More Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking!

Today is all about everyone’s favorite shark.

4 Shots From 4 Films: Special Jaws Edition

Jaws (1975, Dir. by Steven Spielberg)

Jaws 2 (1978, Dir. by Jeannot Szwarc)

Jaws 3D (1983, Dir. by Joe Alves)

Jaws: The Revenge (1987, Dir. by Joseph Sargent)

4 Shots From 4 Films: Special Vilmos Zsigmod Edition


4 Shots From 4 Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking!

Today, we pay tribute to the legendary cinematographer, Vilmos Zsigmond.  Born 90 years ago today in Hungary, Zsigmond got his start in the 60s with low-budget films like The Sadist but he went on to become one of the most in-demand cinematographers around.  In fact, of all the people who started their career working on a film that starred Arch Hall, Jr.,  it’s hard to think of any who went on to have the type of success that Zsigmond did.

Zsigmond won one Oscar, for his work on Close Encounters of Third Kind.  He was nominated for three more.  He also received a BAFTA award for his work on The Deer Hunter and was nominated for an Emmy for his work on Stalin.  He’s considered to be one of the most influential cinematographers of all time.

In honor of the legacy of Vilmos Zsigmond, here are….

4 Shots From 4 Films

Deliverance (1972, directed by John Boorman, DP: Vilmos Zsigmond)

The Long Goodbye (1973, dir by Robert Altman, DP: Vilmos Zsigmond)

Close Encounters of the Third Kind (1977, dir by Steven Spielberg, DP: Vilmos Zsigmond)

Heaven’s Gate (1980, directed by Michael Cimino, DP: Vilmos Zsigmond)

4 Shots From 4 Films: Special Bob Gale Edition


4 Shots From 4 Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking!

Today, the Shattered Lens wishes a happy birthday to screenwriter Bob Gale!  It’s time for….

4 Shots From 4 Films Written By Bob Gale

I Wanna Hold Your Hand (1978, dir by Robert Zemeckis, DP: Donald M. Morgan)

1941 (directed by Steven Spielberg, DP: William A. Fraker)

Used Cars (1980, dir by Robert Zemeckis, DP: Donald M. Morgan)

Back to the Future (1986, dir by Robert Zemeckis, DP: Dean Cundey)