The reverential tone Steven Spielberg has taken lately with World War II as evident in "Schindler's List" and "Saving Private Ryan" (in addition to the 1987 boys' adventure "Empire Of The Sun") is nowhere to be found in this largely panned yet outrageously entertaining screwball comedy that would have done Blake Edwards proud.
Based loosely on events that actually occurred stateside during World War II (specifically the sighting of a Japanese submarine off the coast of California and the infamous "zoot suit riots" among day-glo dressed street hoods and servicemen), this movie pays tribute to the paranoia that gripped the West Coast in the days following the Japanese attack on Pearl Harbor in December 1941. Notoriously overbudget, this film was considered the "Waterworld" of its day, with the obvious difference being that it took itself not the least bit seriously. It was Spielberg's much-expected flop in the wake of "Jaws" and "Close Encounters Of The Third Kind"...but did it deserve to be?
An able cast of comedic talent headlined by the incomparable John Belushi and Dan Aykroyd with up-and-coming SCTV alumnus John Candy and recent "Animal House" veteran Tim Matheson supported ably by character actors Ned Beatty, Robert Stack, Treat Williams, and Lorraine Gary and all-time good ol' boy Slim Pickens on one side...and veteran Hammer Films horror star Christopher Lee slumming with Akira Kurosawa's number-one samurai Toshiro Mifune and the crew of a Japanese submarine with faulty navigational equipment on the other.
It is an all-star cast performing well up to its own high standard in what would be the most unusual twist on war since "Hogan's Heroes"...mainly the notion that this tragedy which brought so much pain and sorrow to the entire world could in fact be something that, in the right hands, could be uproariously funny. Spielberg's fingerprints are of course ubiquitous; the use of children, the collaboration with John Williams, breakaway stuntwork, special effects and well-designed set pieces...but it is the actors that make this movie work, particularly John Belushi who, like Brad Pitt in movies like "Thelma & Louise", "True Romance", and "Snatch" manages to steal completely a movie in which he actually has very little face time. All the actors are encouraged to play to their strengths, and the ability to "pay no attention to that man behind the curtain" (i.e., remember than none of this ever happened and that this is a comedy, not a documentary...Michael Moore, are you listening?) will enable the viewer some deep bellylaughs and some time well-spent viewing the bonus features which attempt to explain just WHY this is one of Spielberg's least understood or appreciated films.