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1941(film)

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Not to be confused with1941 in film.

1941 (film)
Theatrical release poster
Directed bySteven Spielberg
Screenplay by
Story by
Produced byBuzz Feitshans
Starring
CinematographyWilliam A. Fraker
Edited byMichael Kahn
Music byJohn Williams
Color processMetrocolor
Production
company
A-Team Productions
Distributed byUniversal Pictures(North America)
Columbia Pictures(International)
Release dates
  • December 13, 1979(1979-12-13)(Cinerama Dome)
  • December 14, 1979(1979-12-14)(United States)
Running time
118 minutes
146 minutes
(director's cut)
CountryUnited States
LanguageEnglish
Budget$35 million[1]
Box office$94.9 million[1]

1941is a 1979 Americanwarcomedy filmdirected bySteven Spielbergand written byRobert ZemeckisandBob Gale.The film stars anensemble castincludingDan Aykroyd,Ned Beatty,John Belushi,John Candy,Christopher Lee,Tim Matheson,Toshiro Mifune,Robert Stack,Nancy Allen,andMickey Rourkein his film debut. The story involves a panic in the Los Angeles area after the December 1941attack on Pearl Harbor.

Co-writer Gale stated the plot is loosely based on what has come to be known as theGreat Los Angeles Air Raid of 1942,as well as thebombardment of the Ellwood oil refinery,nearSanta Barbara,by a Japanese submarine. Many other events in the film were based on real incidents, including theZoot Suit Riotsand an incident in which the U.S. Army placed an anti-aircraft gun in a homeowner's yard on the Maine coast.[2]

The film received heavily mixed reviews from critics with criticism towards the script, pacing, and humor, but praise towards the visual effects, sound, production design,John Williams's score, and cinematography.

1941was not as financially or critically successful as many of Spielberg's other films, but was still a moderate box office success. It received belated popularity after an expanded version aired onABCin the 1980s, with subsequent television broadcasts and home video reissues, raising it tocult status.[3]

Plot[edit]

On Saturday, December 13, 1941, at 7:01 a.m. (six days after theattack on Pearl Harbor), anImperial Japanese Navysubmarine,commanded by Akiro Mitamura and carryingKriegsmarineofficer Wolfgang von Kleinschmidt, surfaces off theCalifornian coast.Wanting to destroy something "honorable" in Los Angeles, Mitamura decides to targetHollywood.Later that same morning, a10th Armored DivisionM3 Leetank crew, consisting of Sergeant Frank Tree, Corporal Chuck Sitarski, and Privates Foley, Reese, and Henshaw, are having breakfast at a cafe in Los Angeles where dishwasher Wally Stephens and his friend Dennis DeSoto work. Wally is planning to enter a dance contest at a club that evening with his girlfriend, Betty Douglas. Sitarski, who has an extremely short temper, instantly dislikes Wally and trips him, causing a fight and leaving Wally humiliated.

United States Army Air ForcesCaptain Wild Bill Kelso wildly cruises hisCurtiss P-40 Warhawkaround the western states in search of Japanese forces, leaving chaos in his wake. Meanwhile, in Los Angeles, Major GeneralJoseph W. Stilwellattempts to calm the public, who believe Japan will attack California. During a press conference atDaugherty FieldinLong Beach,Captain Loomis Birkhead, Stilwell's aide, meets his old flame Donna Stratton, who is General Stilwell's new secretary. Aware that Donna is sexually aroused by airplanes, Birkhead lures her into the cockpit of aB-17bomber to seduce her. When his attempt fails, Donna punches him; as he falls, Birkhead accidentally releases a bomb, which rolls against the conference's grandstand and explodes, though Stilwell and the crowd escape unhurt.

At theSanta Monicaoceanside home of her father Ward Douglas and his wife Joan, Betty and her friend Maxine Dexheimer, who have just becomeUSOhostesses, tell Wally that they are only allowed to dance with servicemen as they are now the only male patrons allowed in the club. Wally hides in the garage when Ward, who disapproves of him, appears. Sgt. Tree and his crew arrive and inform Ward and Joan that the army wants to install ananti-aircraft batteryin their yard. Sitarski begins flirting with Betty, and Wally falls from the loft where he was hiding. Wally and Sitarski recognize each other from the cafe, and the Sgt. Tree’s crew dumps Wally into a passing garbage truck after ejecting him from the premises.

Meanwhile, the Japanese submarine has become lost trying to find Los Angeles after their compass malfunctions. A landing party goes ashore and captures lumberjack Hollis "Holly" Wood. Aboard the sub, Hollis is searched and the crew is excited to find a small toy compass, which Hollis swallows. After the crew attempts to make Hollis excrete the compass by forcing him to drinkprune juice,he escapes from the submarine.

Ward's neighbor, Angelo Scioli of theGround Observer Corps,installs Claude and Herb in theFerris wheelat the Ocean Front Amusement Park to scout for enemy aircraft. Determined to get Donna into an airplane, Birkhead drives her to the 501st Bomb Disbursement Unit inBarstow,where the mentally unstable Colonel "Mad Man" Maddox lets them borrow a plane. Donna, aroused from finally being in an airplane, begins to ravish Birkhead during the flight.

At theUSOclub, Sitarski drags Betty into the dance. Wally sneaks in and reunites with Betty. They win the dance contest, and the short-tempered Sitarski punches Wally, setting off a brawl between soldiers, sailors andzoot suiterswhich spills into the street and becomes a riot. Sgt. Tree and his crew break up the melee, just before L.A. goes on high alert when Birkhead and Donna fly over the city and anti-aircraft batteries open fire on them. Kelso pursues and shoots it down, causing it to land into theLa Brea Tar Pits.Claude and Herb shoot down Kelso's passing P-40 after mistaking it for a JapaneseZero;Kelso crashlands in the city, where he informs the military authorities about the Japanese sub he spotted at the pier. Wally is put in command of the tank after Tree is accidentally incapacitated, and rescues Betty while Sitarski is accosting her. After Kelso's alert, Wally, Betty, Dennis and the tankers set off for the pier, followed by Kelso on a motorcycle.

At the Douglas' home, Ward spots the surfaced submarine and begins firing the anti-aircraft gun at it, wrecking his whole house in the process. The sub returns fire, hitting the Ferris wheel, which rolls into the ocean. When von Kleinschmidt tries to force the sub to retreat early, Mitamura throws him overboard. The tank arrives and then sinks when the submarine torpedoes the pier. Kelso jumps off the pier and swims to the submarine, where he is captured by the Japanese. The captain considers the mission an honorable success, and the sub departs.

The next morning, Stilwell and soldiers arrive at the remains of the Douglas home, where the other protagonists have gathered. Ward vows that their Christmas will not be ruined by the enemy; to symbolize his point, he nails a Christmas wreath to his front door, causing his unstable house to collapse down the hillside. Stilwell, observing the disheveled crowd arguing, tells Sgt. Tree, "It's going to be alongwar. "

Cast[edit]

Production[edit]

According to Steven Spielberg's appearance in the documentaryStanley Kubrick: A Life in Pictures,Kubricksuggested that1941should have been marketed as a drama rather than a comedy. The chaos of the events following thePearl Harbor attack in 1941is summarized by Dan Aykroyd's character, Sgt. Tree, who repeatedly states, 'If there's one thing I can't stand seeing, it's Americans fighting Americans. "[2]

Robert Zemeckis originally pitched the concept to John Milius as a serious depiction of the real-life 1942Japanese bombardment of Ellwood, California;the subsequentfalse alarm of a Japanese air raid on Los Angeles;and the1943 Zoot Suit Riots,titledThe Night the Japs Attacked.After development of the film transferred fromMetro-Goldwyn-Mayerto Universal Pictures, executives insisted that the title be changed toRising Sunto avoid the use of the derogatory term "Jap."The story became a comedy after Steven Spielberg became involved as director, and the script was rewritten during the production ofClose Encounters of the Third Kindin 1977. The characters of Claude Crumm and Herb Kaziminsky were originally written withThe Honeymoonersco-starsJackie GleasonandArt Carneyin mind. Hollis P. "Holly" Wood and "Wild Bill" Kelso were originally minor characters before Belushi and Pickens were cast.[4]

1941is also notable as one of the few American films featuring popular Japanese actor,Toshiro Mifune.It is also the only American film in which Mifune used his own voice in speakingJapaneseandEnglish.In his previous movies, Mifune's lines were dubbed in English byPaul Frees.[2]

John Wayne,Charlton Heston,andJames Stewartwere originally offered the role of Major GeneralJoseph Stilwell,with Wayne still considered for a cameo in the film.[4]After reading the script, Wayne decided not to participate due to ill health, but also urged Spielberg not to pursue the project, as both he and Heston felt the film was unpatriotic. Spielberg recalled, "[Wayne] was really curious and so I sent him the script. He called me the next day and said he felt it was a very un-American movie, and I shouldn't waste my time making it. He said, 'You know, that was an important war, and you're making fun of a war that cost thousands of lives at Pearl Harbor. Don't joke about World War II'."[5]Initially Spielberg wanted Hollywood agentMeyer Mishkinto portray himself, but had to castIggie Wolfingtonbecause ofScreen Actors Guildregulations barring film agents from working as actors.[4]

Susan Backlinie,the first victim in Spielberg'sJaws,appeared as the woman seen swimming nude at the beginning of the film.[2]The gas station that Wild Bill Kelso accidentally blows up early in the film is the same one seen in Spielberg's 1971 TV film,Duel,withLucille Bensonappearing as the proprietor in both films. Inadvertent comedic effects ensued when John Belushi, in character as Captain Wild Bill Kelso, unintentionally fell off the wing of his airplane and landed on his head in the scene where Kelso encounters Col. Maddox and his men. It was a real accident and Belushi was hospitalized for several days, but Spielberg left the shot in the movie as it fit Kelso's eccentric character.[6]

During the USO riot scene, when amilitary policeofficer is tossed into the window of a restaurant from the ladder of a fire engine, Belushi is seen eating spaghetti, in makeup to resembleMarlon BrandoinThe Godfather,whom he famously parodied in a sketch onSaturday Night Live.Belushi told Spielberg he wanted to appear as a second character and the idea struck Spielberg as humorous.[2]At the beginning of the USO riot, one of the uncredited "extras" dressed as a sailor is actorJames Caan.Mickey Rourkemakes his first screen appearance in the film as Private First Class Reese of Sgt. Tree's tank group.[7]

TheM3tankLulu Belle(named after a race horse) and fashioned from a mocked-up tractor, paid homage to its forebear in Humphrey Bogart's 1943 movieSaharawhere an authentic M3 namedLulubellewas prominently featured.[8]

Renowned modelmaker Greg Jein worked on the film, and would later use the hull number "NCC-1941" for the starship USSBozemanin theStar Trek: The Next Generationepisode "Cause and Effect".[9]Paul De Rolfchoreographedthe film.[10]

1941is dedicated to the memory of Charlsie Bryant, a longtime script supervisor at Universal Studios. She had worked on bothJawsandClose Encounters,and would have reprised those duties with this film had she not unexpectedly died.[11]

Special effects[edit]

The Oscar-winning team of L.B. Abbott and A.D. Flowers were in charge of the special effects on1941.The film is widely recognized for itsAcademy Award-nominated special-effects laden progressive action and camera sequences.[12][N 1]

Trailer[edit]

The advance teaser trailer for1941,directed by the film's executive producer/co-story writerJohn Milius,featured a voice-over by Aykroyd as Belushi's character Kelso (here erroneously named "Wild Wayne" and not "Wild Bill" ), after landing his plane, gives the viewers a pep-talk encouraging them to join theUnited States Armed Forces,lest they find one morning that the country will have been taken over (for instance, "the street signs will be written in Japanese!" ).[14]

Music[edit]

The musical score for1941was composed and conducted byJohn Williams.The titular march is used throughout the film and is perhaps the most memorable piece written for it. (Spielberg has said it is his favorite Williams march.) The score also includes a swing composition titled "Swing, Swing, Swing" composed by Williams. In addition, the score includes a sound-alike version ofGlenn Miller's "In the Mood",and two original 1940s recordings byThe Andrews Sisters,"Daddy" and "Down by the Ohio". The Irish tune "TheRakes of Mallow",is heard during the riot at the USO.

The LaserDisc and DVD versions of the film have isolated music channels with additional cues not heard on the first soundtrack album.

The1941soundtrack album was originally released in 1979 byArista Records. In 2011, La-La Land Records, in conjunction withSony MusicandNBCUniversal,issued an expanded 2-CD soundtrack of the complete John Williams score as recorded for the film, plus never-before-heard alternative cues, source music, and a remastered version of the original album. Disc One, containing the film score, presents the music as Williams originally conceived based on early cuts of the movie.[15][16][17]

Release[edit]

The film was previewed at approximately two and a half hours, butColumbia PicturesandUniversal Pictures,which both had a major financial investment, felt it was too long to be ablockbuster.The initial theatrical release was edited down to just under two hours, against Spielberg's wishes.[18]Additionally, the release of the film was delayed by a month after a preview screening to investors in Dallas received negative reviews to allow Spielberg to reedit the first 45 minutes of the film.

The film premiered at theCinerama DomeinHollywoodon December 13, 1979, before opening to the public the following day.[19]

Home media[edit]

After the success of his 1980 "Special Edition" ofClose Encounters of the Third Kind,Spielberg was given permission to create his own "extended cut" of1941to represent his originaldirector's cut.This was done fornetwork television(it was only shown onABConce, but it was seen years later onThe Disney Channel). It was first released onVHSandBetamaxin 1980 fromMCA Videocassette Inc.and fromMCA Home Videoin 1986 and 1990. A similar extended version (with additional footage and a few subtle changes) was released onLaserDiscin 1995. It included a 101-minute documentary featuring interviews with Spielberg, executive producerJohn Milius,writersRobert ZemeckisandBob Gale,editorMichael Kahn,composerJohn Williamsand others involved. This set also included an isolated music score, three theatrical trailers, deleted scenes, photo galleries, and reviews of the movie.

This cut was later released on VHS in 1998, and later onDVDin 1999 and was rereleased on DVD again in May 2002.[20][21]The DVD includes all features from the 1995 Laserdisc Set. It was released again on DVD in 2000 in aJohn Belushibox set along with the collector's editions ofAnimal HouseandThe Blues Brothers.

On October 14, 2014,Universal Picturesreleased1941on Blu-ray as part of their Steven Spielberg's Director's Collection box set. The disc features both the theatrical (118 minutes) and extended version (146 minutes) of the film, a documentary of the making of the film, production photographs (carried over from the LaserDisc collector's edition), and theatrical trailers, although the isolated score that was included on the Laserdisc and DVD releases is not present on the Blu-ray. The standalone Blu-ray version was released on May 5, 2015.

Heavy MetalandArrow Booksproduced a magazine-sized comics tie-in to the film, by Allen Asherman,Stephen R. Bissette,andRick Veitch,which rather than being a straight adaptation, varies wildly and humorously from the film. Spielberg wrote the book's introduction.[22]

Reception[edit]

Box office[edit]

"It is down in the history books as a big flop, but it wasn't a flop. The movie didn't make the kind of money that Steven's other movies, Steven's most successful movies have made, obviously. But the movie was by no means a flop. And both Universal and Columbia have come out of it just fine."

—Bob Gale[2]

During its theatrical run,1941had earned $23.4 million in theatrical rentals from the United States and Canada.[23]Because1941grossed significantly less thanJawsandClose Encounters of the Third Kind,the film has been erroneously thought to be a box office disaster, but in actuality,1941grossed $90 million worldwide and returned a profit, making it a success.[24]

Critical reaction[edit]

Gene Siskelof theChicago Tribunegave the film two and a half out of four stars in which he applauded the film's visual effects, but stated "[T]here is so much flab here, including endless fistfights and huge dance production numbers that become meaningless after a few minutes."[25]Writing in his review forThe New York Times,Vincent Canbywrote "There are too many characters who aren't immediately comic. There are too many simultaneous actions that necessitate a lot of cross-cutting, and cross-cutting between unrelated anecdotes can kill a laugh faster than a yawn. Everything is too big...The slapstick gags, obviously choreographed with extreme care, do not build to boffs; they simply go on too long. I'm not sure if it's the fault of the director or of the editor, but I've seldom seen a comedy more ineptly timed."[26]Similarly,Varietylabeled the movie as "long on spectacle, but short on comedy" in which the magazine felt "1941suffers from Spielberg's infatuation with physical comedy, even when the gags involve tanks, planes and submarines, rather than the usual stuff of screen hijinks. Pic is so overstuffed with visual humor of a rather monstrous nature that feeling emerges, once you've seen 10 explosions, you've seen them all. "[27]

Roger Ebertof theChicago Sun-Timesgave the film one and a half stars out of four, writing that the film "feels forced together chaotically, as if the editors wanted to keep the material moving at any cost. The movie finally reduces itself to an assault on our eyes and ears, a nonstop series of climaxes, screams, explosions, double-takes, sight gags, and ethnic jokes that's finally just not very funny." He labeled the film's central problem on having been "never thought through on a basic level of character and story."[28]Charles Champlin,reviewing for theLos Angeles Times,commented "If1941is angering (and you may well suspect that it is), it is because the film seems merely an expensive indulgence, begat by those who know how to say it, if only they had something to say. "[29]Dave KehrofThe Chicago Readercalled it "a chattering wind-up toy of a movie [that] blows its spring early on. The characters are so crudely drawn that the film seems to have no human base whatsoever...the people in it are unremittingly foolish, and the physical comedy quickly degenerates into childish destructiveness."[30]

Years later, the film would be re-appraised by critics likeRichard BrodyofThe New Yorker,who claimed it was "the movie in which [Spielberg] came nearest to cutting loose"[31]and "the only movie where he tried to go past where he knew he could...its failure, combined with his need for success, inhibited him maybe definitively."[32]Jonathan RosenbaumofThe Chicago Readerwould hail1941as Spielberg's best film until 2001'sA.I. Artificial Intelligence,writing that he was impressed by the virtuosity of1941and argued that its "honest mean-spiritedness and teenage irreverence" struck him as "closer to Spielberg's soul" than more popular and celebrated works likeE.T. the Extra-TerrestrialandThe Color Purple.[33]

According toJack Nicholson,directorStanley Kubrickallegedly told Spielberg that1941was "great, but not funny."[34]Spielberg joked at one point that he considered converting1941into amusicalhalfway into production and mused that "in retrospect, that might have helped."[35]In a 1990 interview with British film punditBarry Norman,Spielberg admitted that the mixed reception to1941was one of the biggest lessons of his career, citing personal arrogance that had gotten in the way after the runaway success ofJawsandClose Encounters of the Third Kind.He also regretted not ceding control of1941's action and miniature sequences (such as the Ferris wheel collapse in the film's finale) to second unit directors and model units, something which he would do in his next film,Raiders of the Lost Ark.[36]He also said "Some people think that was an out-of-control production, but it wasn't. What happened on the screen was pretty out of control, but the production was pretty much in control. I don't dislike the movie at all. I'm not embarrassed by it — I just think that it wasn't funny enough."[37]

On thereview aggregatorwebsiteRotten Tomatoes,the film received an approval rating of 41%, based on 27 reviews, with an average rating of 5.1/10. The critical consensus reads, "Steven Spielberg's attempt at screwball comedy collapses under a glut of ideas, confusing an unwieldy scope for a commensurate amount of guffaws."[38]OnMetacritic,the film has a weighted average score of 34 out of 100, based on 7 critics, indicating "generally unfavorable reviews".[39]

Accolades[edit]

The film received three nominations at the1980 Academy Awards.[40]

Award Category Nominee(s) Result
Academy Awards[40] Best Cinematography William A. Fraker Nominated
Best Sound Robert Knudson,Robert Glass,Don MacDougallandGene S. Cantamessa
Best Visual Effects William A. Fraker,A. D. Flowersand Gregory Jein

American Film Institutenominated the film inAFI's 100 Years...Laughs.[41]

References[edit]

Notes[edit]

  1. ^Quote: "The special effects are beautifully done."[13]

Citations[edit]

  1. ^ab"1941".The Numbers.RetrievedSeptember 27,2012.
  2. ^abcdefThe Making of 1941.Universal Studios Home Entertainment.1996. Archived fromthe originalon December 6, 2020 – viaYouTube.
  3. ^"What is Cult Film?".for68 Beijing ICP.January 13, 2006. Archived fromthe originalon February 19, 2009.RetrievedApril 10,2009.
  4. ^abc"1941".AFI Catalog.Archivedfrom the original on July 21, 2019.RetrievedNovember 12,2021.
  5. ^"John Wayne - John Wayne Urged Steven Spielberg Not To Make War Comedy."contactmusic.2 December 2011. Retrieved: December 2, 2011.
  6. ^Erickson, Glenn."1941 - A giant comedy, only with guns!"DVD Savant,1999. Retrieved: December 16, 2012.
  7. ^Heard 2006, p. 22.
  8. ^Nelson, Erik."The Perfect Double Bill:'The Hurt Locker' and Bogart's 1943 'Sahara'."Salon,January 12, 2010.
  9. ^"First Person: Greg Jein."CBS Entertainment.Retrieved: October 19, 2011.
  10. ^Washington, Arlene (June 26, 2017)."Paul De Rolf, Choreographer for 'Petticoat Junction' and Spielberg's '1941,' Dies at 74".The Hollywood Reporter.RetrievedJuly 20,2017.
  11. ^"Review of1941(1979). "Time Out, New York.
  12. ^Culhane 1981, pp. 126–129.
  13. ^Dolan 1985, pp. 98–99.
  14. ^"Trailer for 1941"onYouTube.Retrieved: October 10, 2012.
  15. ^"La-La Land Records, 1941."Archived2011-10-05 at theWayback MachineLa-La Land Records,September 27, 2011. Retrieved: October 8, 2011.
  16. ^1941: Complete Original Motion Picture Soundtrack,Liner notes by Mike Matessino, La-La Land Records/Sony Music/NBCUniversal, 2011.
  17. ^"JWFan Exclusive – Interview with Producer Mike Matessino about '1941'."JWFan,September 26, 2011. Retrieved: October 8, 2011.
  18. ^McBride 2011,p. 298.
  19. ^"'1941' Gets Its Delayed Preem Dec. 13 At Dome ".Daily Variety.November 30, 1979. p. 2.
  20. ^Liebenson, David (February 12, 1998)."Spielberg's Disaster Movie".Chicago Tribune.RetrievedOctober 18,2020.
  21. ^Hunt, Bill (March 23, 1999)."1941 (Collector's Edition)".DigitalBits.Archived fromthe originalon April 2, 2012.RetrievedSeptember 16,2011.
  22. ^1941: The Illustrated Story.Heavy Metal/Arrow Books. December 1979.ISBN0930834089.
  23. ^"Big Rental Films of 1980".Variety.January 14, 1981. p. 29.
  24. ^McBride 2011,p. 309.
  25. ^Siskel, Gene (December 14, 1979)."Special effects win the battle, but ill effects lose the war for '1941'".Chicago Tribune.Section 4, pp. 1, 4 – viaNewspapers.
  26. ^Canby, Vincent (December 14, 1979)."Film: California Goes To War in '1941'".The New York Times.RetrievedOctober 18,2020.
  27. ^"Film Reviews: 1941".Variety.December 19, 1979.
  28. ^Ebert, Roger (December 14, 1979)."1941 (1979) movie review & film summary".Chicago Sun-Times.RetrievedOctober 18,2020– viaRogerEbert.
  29. ^Champlin, Charles (December 23, 1979)."Spielberg's Pearl Harbor".Los Angeles Times.Part IV, p. 1 – via Newspapers.
  30. ^Kehr, Dave."1941 (1979) capsule review".Chicago Reader.RetrievedMarch 27,2021– viachicagoreader.
  31. ^Ehrlich, David (December 11, 2017)."Film Critics Pick Steven Spielberg's Best Movies — IndieWire Critics Survey".IndieWire.RetrievedMarch 27,2021– viaindiewire.
  32. ^@tnyfrontrow (March 19, 2019)."1941 is the only movie where he tried to go past where he knew he could; its failure, combined with his need for success, inhibited him maybe definitively"(Tweet).RetrievedMarch 27,2021– viaTwitter.
  33. ^Rosenbaum, Jonathan (December 16, 1993)."Gentle Persuasion".Chicago Reader.RetrievedMarch 27,2021– viachicagoreader.
  34. ^Ciment, Michel; Adair, Gilbert; Bononno, Robert, eds. (2003)."Interview: Jack Nicholson".Kubrick: The Definitive Edition.New York: Faber & Faber. p. 297.ISBN978-0-571-21108-1.
  35. ^Bonham and Kay 1979
  36. ^Schickel, Richard (Director) (July 9, 2007).Spielberg on Spielberg(Documentary).
  37. ^Breznican, Anthony (December 2, 2011)."Steven Spielberg: The EW interview".Entertainment Weekly.
  38. ^"1941 (1979)".Rotten Tomatoes.Fandango.RetrievedApril 16,2024.
  39. ^"1941 Reviews".Metacritic.CBS Interactive.RetrievedMay 6,2018.
  40. ^ab"The 52nd Academy Awards (1980) Nominees and Winners".Oscars.org.March 2022.
  41. ^"AFI's 100 Years..Laughs"(PDF).Archived fromthe original(PDF)on July 11, 2019.

Bibliography[edit]

Further reading[edit]

External links[edit]

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