The theatrical release of 1776 originally ran about 166 minutes. When it was released on VHS, it ran 148. What happened???

Aside from minor tinkering, an entire scene was omitted from the VHS version. This was "Cool, cool, considerate men", a chorus and dance for Pennsylvanian and assorted southern slavers. This number is said to have driven Richard Nixon up every available wall, which alone is sufficient reason to insure it was retained. I know what you're thinking, but it isn't paranoia if they really are out to get you. But Nixon's reaction wasn't the reason "Cool..." was taken out. The actual reason is uncertain, but it must certainly have to do with the overtly modern-political thrust of the thing. It's a sly and none-too-subtle indictment of the elitist right wing of American politics. It has little or nothing to do, really, with colonial politics (OK, some), especially since concepts such as "right" and "left" had absolutely no meaning in the pre-French Revolutionary world (the terms come from the locations of factions in the Convention). Nowadays the "cool, cool considerate men" would be ... well, whatchamacallhim and likewise you-know-who ... the task of filling in the names I'd rather leave to you ... but it really doesn't matter whom you put upon the list ... they'd none of 'em be missed ... I'm sure they won't be missed.

I'm pleased to report that the newly-issued DVD version of 1776, misleadingly billed as the "director's cut", is in fact the RESTORED version. The "Cool..." footage and other snippets taken out for the VHS release have been located and placed back in their original locations (rather than being relegated to the annoying "deleted footage" attic). The restoration of this material shows what many of us already knew: how dismally stupid the cut was. It’s true that the number delays the action of the plot … and it’s not the only item in the film that does that … but what a splendid delaying tactic it is! I was thrilled to see it back.

For those who have yet to see this great American musical, let’s note that it’s a recounting of the days of the Continental Congress during the month or so before the signing of the Declaration of Independence. Despite the amount of research that went into the writing of the musical’s book, it would be foolish to expect “accuracy” from an enterprise such as this. For one thing, it wouldn’t be possible to put the entire Congress on stage, so right away a goodly number of people who were there have disappeared. This made necessary in some cases the conflation of 2 or more historical persons into a single stage character. This turned out to be somewhat unfair to John Dickinson of Pennsylvania, who here becomes the chief opponent of independence (in fact, although he opposed independence, he later worked to further the Union and even authored the Articles of Confederation). Other liberties with actual events had to be taken as well. This was complained of when the musical was staged and when the film was released. My thought then was, as it is now, “come on guys; it’s a musical, not Colonial History 101B”. We might do well to ponder, instead, why an American audience should be unfamiliar with the major personalities and issues of the time when our country was born – and consequently mistake a theatre piece for a documentary. Even so 1776 paints with broad strokes (not to mention broad humor) many of the people and events surrounding the adoption of our Declaration of Independence.

Aside from a witty and literate script, 1776 boasts a professional and talented ensemble cast (many of the key roles in the film were recycled from the stage production). The film retains a main convention used on the stage to keep track of the passing days: a very large wall calendar with pages that are ripped off, day by day. The musical numbers range from good to smashing, but display a tendency toward anachronism … that is, in a film often so meticulous in recreating the era, the lapses that occur when people sing are somewhat jarring. Particularly, “He plays the violin” throws itself in the face of social conventions of the time – a married woman discusses life with her husband, alone with 2 men she hardly knows. The dancing in “But Mr. Adams” is soft-shoe modern. These are of course mere quibbles.

The music to 1776 includes 3 whoppers and one genuine show-stopper. The aforementioned “Cool, cool considerate men” is one of the whoppers, a well-staged production number that’s intended to make a modern point and is therefore not entirely fair to the historical characters involved. Still, it’s a good bit of fun. “The Lees of old Virginia” is a vigorously comic number, almost a patter song, which in a spirit of fun actually portrays the insufferable arrogance of that family (for a later member, see Lee Considered, by Alan T. Nolan). At the other end of the scale is “Mama, look sharp”. Here the soldier who otherwise does nothing but bring dour messages from Gen. Washington gets his reward in the most moving solo of the production. This deeply sad song reminds us all of the great sacrifices made by the common people to earn our freedom. Finally, the real show stopper: the Triangle Trade number, “Molasses to rum to slaves”, brilliantly written and performed with such insight and passion that if it didn’t actually stop the show the audience must have been numb from the rump up. And, to boot, it’s a fine way to learn an important bit of history.

In all, this DVD restoration of 1776 is a treasure. And about time, too.


Recommended:
Yes

Viewing Format: DVD
Video Occasion: Good for Groups
Suitability For Children: Suitable for Children Age 13 and Older