According to his daughter, Reeve Lindbergh, her father was no fan of manufactured holidays. Both Father’s Day and Mother’s Day, he said, were commercially driven and insincere, and he refused to acknowledge either one in the Lindbergh household. While his children were forced to cede to his wishes while he was present, his frequent trips allowed them to celebrate Mother’s Day in secret if he was away from home.
Lindbergh’s decision to mount the first transatlantic flight from New York to Paris in 1927 required two elements: guts and technology. Lindbergh had developed the constitution for it, but still needed an aircraft that could make the 3600-mile flight. Financed by the St. Louis Chamber of Commerce, Lindbergh commissioned a $15,000 plane, dubbed The Spirit of St. Louis, to be built by the Ryan Airlines Corporation of San Diego. Because the plane needed additional fuel storage, everything extraneous was removed to lessen its weight—no radio, gas gauge, or parachute. Lindbergh even had to dispense with a window in his cockpit: The gas tank took over his front field of vision. He used a periscope to see instead.
O Brother Where Art Thou [2 CD Deluxe Edition] by Various Artists – Soundtrack (2011-08-22)
Love most of the songs on this album, by “Constant Sorrow” is my favorite
12. HARRISON FORD WOULD ONLY AGREE TO BE IN THE MOVIE IF HE DIDN’T HAVE TO CUT HIS HAIR.
This was quite a great soundtrack that upon first hearing, really… REALLY opened my ears up to the different styles of music contained within. Wally Gator never dreamed he would enjoy a bluegrass tune or a lot of the old timey kind of music so much before he was introduced to this disc.
My overall favorite performance is the one with Alison Krauss and Emmylou Harris, DIDNT LEAVE NOBODY BUT THE BABY. Such a haunting and yet extremely sexy song (when performed in the movie, even more so.
.. the three ladies walk out of the lake in those white nightgowns) and really turned me onto the idea of sexy ladies singing lullabyes… oh yeah! But there are other great old fashioned songs on here done extremely well like the rendition of I’LL FLY AWAY and MAN OF CONSTANT SORROW.
Not to mention songs that I remember from being a little kid like BIG ROCK CANDY MOUNTAIN, done up in a little more of a grown up way… lyrics in tact, nothing to dirty or provocative, but plenty of hints.
..still something acceptable to play with the kids in the car.I’m sure this stuff is not for everybody, but this disc really opened me up to a lot of great old timey music. It wasn’t all the hokeyness I had always thought it was.
Several artists from the thirties and forties played music that is really strong even today. I am still amazed though at how quickly this album went to the top of the charts. Nobody has really had as much success with tributing this era of music since.
..? Oh well. Guess thats what makes this one stand out. I really got a kick out of the movie too, even though it had George Clooney in it.
Set in Mississippi during the Great Depression and (purportedly) loosely based on Homer’s The Odyssey, Joel and Ethan Coen’s 2000 film O Brother, Where Art Thou? starred George Clooney as Ulysses Everett McGill, a criminal who tricks fellow convicts Pete Hogwallop (John Turturro) and Delmar O’Donnell (Tim Blake Nelson) into escaping prison with him in search of cash he had buried, when in fact he just wants to stop his wife from remarrying. Through their misadventures, the trio becomes famous as The Soggy Bottom Boys, a new music sensation.
I purchased this after seeing the movie on DVR for the umpteenth time. The “Soggy Bottom Boy’s,” singing “into the can,” made me die with laughter!. The old blind dude at his radio station was looking for some “Old Timey Music!” “I’m a Man of Constant Sorrow” almost sent him into an apoplectic fit! His eyes rolled upwards in pure delight and he handed out ten dollar bills to the boys.
(More than he should because they took advantage of his blindness and added a few more performers! Chris Thomas King singing “Hard Time Killing Floor Blues,” at the campfire mesmerized me. I bought two of his CD’s from Amazon because of this.
As is often the case, nothing compares with King singing “Hard Time Killing Floor Blues.” That is a haunting song–made more so by King’s soulful voice and playing. I could only find it in the movie soundtrack and none of King’s CD’s.
There are too many great songs to list on this soundtrack–the recording quality is superb.
A Simple Trick for Eliminating ‘Filler Words’ Like ‘Like’ From Your Vocabulary
5.0 out of 5 starsA con is a con, unless of course the con is Clooney!
Cinematographer Roger Deakins and the Coens decided to digitally change the coloring, because Mississippi looked “garish in the wrong way,” so they changed the lush greens to a drier, dustier look. The Coens told Deakins they wanted the feel of an “old, faded postcard.”
“We hired this guy and he came to set with a golf club and what he would do is he would look around for snakes,” Joel explained. “If he saw one he would rope it with the golf club and put it in this bag. I asked him what you called somebody with this profession, and he said, ‘An idiot.'”
Mackenzie Phillips was just 12 years old when she arrived to make the film, and though she had showbiz experience (her father, John Phillips, was in The Mamas & the Papas), neither she nor her parents realized that California law required her to have a guardian present. “They were almost going to have to recast me, but Gary Kurtz”—a producer on the film—”and his family said, ‘We’ll take her,'” Phillips said in 1999. ” So they went to the courts in San Francisco and got guardianship of me.” Phillips lived with the Kurtzes for the duration of the shoot and described it as a happy experience.
8. THE PRODUCER HAD TO BECOME MACKENZIE PHILLIPS’S LEGAL GUARDIAN FOR THE SHOOT.
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5.0 out of 5 starsO Brother–don’t miss buying this movie soundtrack! You won’t regret it!
The Lord Of The Rings: The Two Towers – The Complete Recordings (5LP 180 Gram Blue Vinyl)(Limited)
Crossing the Atlantic Ocean demanded more of Lindbergh than just flying skill or customized aircraft. It required he stay awake for the duration of the solo flight and maintain concentration throughout. Halfway through, fatigue began to set in, and Lindbergh physically forced his eyes to remain open with his fingers. Shortly after that, he began hallucinating ghosts passing through his cockpit. Because he had slept so little the night before taking off, Lindbergh had actually been awake closer to 55 hours.
6. WOLFMAN JACK WAS A HOLDOVER FROM A PREVIOUS MOVIE IDEA LUCAS HAD.
Down from the Mountain (The “O Brother, Where Art Thou?” Concert)
Curt (played by Richard Dreyfuss) spends most of the film chasing a beautiful, mysterious blonde (played by Suzanne Somers) he sees driving a Ford Thunderbird. Lucas originally intended to shoot a scene where the blonde and the car were briefly transparent, revealing to the audience that she was a figment of Curt’s imagination. This was one of the things that had to go when Universal insisted on a strict, tight budget.
Nelson performed his solo, “In the Jailhouse Now,” live for the movie. Chris Thomas King (who played Tommy Johnson) is an actual musician and used his own voice. Dan Tyminski, Harley Allen, and Pat Enright sang for The Soggy Bottom Boys in “I Am a Man of Constant Sorrow.” Tyminski provided Clooney’s singing voice.
Before he made Star Wars, then ruined Star Wars, then saved Star Wars by selling it to Disney, George Lucas made another iconic film that has served as a cultural touchstone. American Graffiti, released 45 years ago today, was a nostalgic, semi-autobiographical look at the American teenager circa 1962, before “the sixties” kicked in and changed everything. The film was a massive hit, earning $55 million in 1973 and another $63 million when it was re-released in 1978—a total of some $500 million at today’s ticket prices. Let’s get nostalgic for nostalgia and look in-depth at the making of American Graffiti.
Lucas worked hard and fast, shooting anywhere from six to 10 script pages a night (twice the norm), but there was still a lot of downtime for the large ensemble cast of young, energetic actors. Harrison Ford (who turned 30 during the shoot and was one of the oldest people there), Paul Le Mat, and Bo Hopkins drank a lot of beer between takes and were said to have been kicked out of the Holiday Inn for things like urinating in the ice machines and climbing on the hotel’s rooftop sign. Someone set fire to Lucas’ hotel room. Le Mat threw Dreyfuss into the swimming pool one night, gashing his forehead. Adding to the carnival atmosphere were the hundreds of local gearheads who were paid $25 each to lend their classic cars to the production and who hung around every night, gawking at the actors and drag-racing on the back streets.
Lindbergh’s feat drew worldwide acclaim and he frequently took up invitations from foreign countries to evaluate their aircraft development. In the late 1930s, Lindbergh made several trips to Nazi Germany, where he was granted access to the Luftwaffe’s fleet of combat planes. At one point, Luftwaffe commander-in-chief Hermann Goering presented Lindbergh with the Service Cross of the German Eagle to acknowledge his pioneering work in aviation. Lindbergh promptly reported his experiences to U.S. intelligence, which had encouraged Lindbergh to make the visits and inform the American military of German technology.
1.0 out of 5 starsOne record is to large to play on some players
Universal Pictures gave Lucas a budget of $600,000, or about $3.5 million in 2016 dollars, to make the movie—in other words, not very much. When Coppola came onboard as a producer shortly after the release of The Godfather, Universal gave Lucas another $175,000. Later, when the film was finished and had test-screened positively, Universal inexplicably wanted to drastically re-edit it and release it as a TV movie. Lucas objected but had no clout. Coppola, on the other hand—by this time an Oscar-winner—could make studio executives listen. He convinced them to do only a little bit of trimming (the deleted scenes were reincorporated for home video release) and to release the film theatrically.
Sullivan’s Travels (1941) was a Hollywood satire about a comedy director who wanted to make a serious, epic drama, travels the country to research it, and discovers the world is better off laughing. The movie the character wanted to make was titled O Brother, Where Art Thou?.
Turturro told Nelson on set, “Look, the way it works with their movies—and I’ve been in enough of them to consider myself an authority—is that you take the script and the movie is gonna be two times better than the script. And this script is a classic. Tim, we’re going to be part of a classic.”
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J.K. Simmons auditioned for multiple parts, but backed out when the one character the Coens were leaning toward casting him as was too similar to Vernon Schillinger, his racist character from the HBO show Oz.
The reason, of course, is money. To mitigate the cost of licensing so many songs, Universal offered a flat rate to all of the labels involved. Everyone went along with it except for RCA, which meant no Elvis. The kids in American Graffiti are therefore probably the only teenagers in America who could listen to the radio all night in 1962 and never hear an Elvis song.
13. THE AMERICAN HUMANE SOCIETY COULDN’T BELIEVE THE COW WAS NOT REAL.
The double album O Brother Where Art Thou? Soundtrack by Various Artists on Black & White Split Vinyl. This is a Newbury Comics Exclusive Color Variant. Limited edition of 1000 copies.
For the movie’s music—and even before they’d finished the script—the Coens turned to musician/producer T Bone Burnett, whom they had worked with on The Big Lebowski in 1998. Along with singer-songwriter Gillian Welch, Burnett found the songs for the movie. Its soundtrack—which combined original and traditional bluegrass, country, gospel, blues, and folk music—was the first movie soundtrack to win the Grammy for Album of the Year since 1994. More than eight million copies of the album were sold.
The radio DJ with the distinctive voice was part of Lucas’ teenage years in Modesto, California, and Lucas even considered making a documentary about him when he was a student at USC’s film school. When American Graffiti made him a millionaire, Lucas paid the Wolfman a little extra for serving as the film’s “inspiration.”
Vinyl Label: Universal ASIN: B017Y4TIK2 Average Customer Review: 4.7 out of 5 stars 1,288 customer reviews Amazon Best Sellers Rank: #150,698 in CDs & Vinyl (See Top 100 in CDs & Vinyl) #8870 in CDs & Vinyl > Soundtracks
Lindbergh’s travels to Germany were more than just business. In 2003, DNA tests confirmed that he had fathered three children with Munich hat maker Brigitte Hesshaimer beginning in 1957. Neither Hesshaimer nor Lindbergh disclosed that lineage to the children, who knew the man who came to visit them a few times a year as a writer named “Careu Kent.” The trio waited until their mother’s passing in 2001 before pursuing their suspicion that Kent was actually Lindbergh. The aviator was also alleged to have fathered two children with Brigitte’s sister, Marietta, and two with his personal secretary, a woman named Valeska.
The legend of blues legend Robert Johnson selling his soul to the devil to become a great guitarist is better known than Tommy Johnson’s tale. Rev. Ladell Johnson, Tommy’s brother, believed he had sold his soul to the devil for the same reason.
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Lindbergh had an interest in biomechanics, and in 1935, he unveiled his design for a perfusion pump—a glass device that could ostensibly keep organs viable by delivering a blood supply to them while they were outside the body. With collaborator and Nobel Prize-winning scientist Alexis Carrel, he succeeded in perfusing the thyroid gland of a cat. Though his invention never made it to a practical application stage, Lindbergh’s work is credited with helping bridge the gap toward innovations that later allowed surgeons to stop a heart during operations.
How Good Posture Can Boost Your Confidence When You Need it Most
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Universal executives didn’t know what American Graffiti meant as a title (they weren’t alone), and begged Lucas to change it. They furnished a list of 60 alternates, including Rock Around the Block (Coppola’s suggestion) and Another Slow Night in Modesto (which was close to Lucas’ original working title, Another Quiet Night in Modesto). Lucas wouldn’t budge.
O Brother, Where Art Thou? (Original Motion Picture Soundtrack)
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The sacrifices were worth it. Lindbergh made the flight, lifting off from Roosevelt Field on Long Island on May 20, 1927, and arriving in Paris after 33.5 hours of uninterrupted flying. The feat captured the public’s attention for its boundary-breaking significance, with thousands of people greeting his plane upon landing. Back home, president Calvin Coolidge awarded him the Congressional Medal of Honor.
Down from the Mountain: Live Concert Performances by the Artists & Musicians of O Brother, Where Art Thou?
The Lord Of The Rings: The Return Of The King – The Complete Recordings (Limited Edition Number Box Green 6LP)
This review is for the 12 inch 33 1/3 RPM vinyl version of this album. It does not reflect the actual content of the songs, but the physical albums itself.The problem is with the size of the 1st of the 2 records in this set.
When I first received it, the first record was slightly larger than the standard 12 inches that most 33 1/3 RPM long playing records are. This created a problem with my Pioneer PL-990 player as the side of the record would rub up against the stylus arm rest, preventing the record from spinning.
The second record of this set is the correct size, and has no problems playing at all. After reading the reviews on Amazon’s site, I saw nobody complaining about this problem. So I decided to exchange this for another.
However, the second album set I received had the exact same problem. I am now of the opinion that this is a problem with the manufacturing of the album. Instead of returning the album to Amazon.com, I am currently trying to contact Universal Music to try and determine if this is by design.
Audio CD $7.88 99 Used from $1.15 22 New from $3.80 Vinyl $23.98 2 Used from $37.98 13 New from $19.98 2 Collectible from $57.00 Audio, Cassette $16.90 3 New from $14.75
Marcia said, “I reminded George that I warned him [THX] hadn’t involved the audience emotionally. He always said, ‘Emotionally involving the audience is easy. Anybody can do it blindfolded, get a little kitten and have some guy wring its neck …’ So finally, George said to me, ‘I’m gonna show you how easy it is. I’ll make a film that emotionally involves the audience.'” He showed her!
OK, you’re watching a movie and like the music so much, you wish they’d stop the dialogue so you can listen to the songs!Producers got it right by hiring a “who’s who” list of musicians & vocal artists to cover traditional songs like Stanley Brothers “I’m a Man of Constant Sorrow” and others.
Decent CD player & a pair of headphones and you can actually hear the echo from that pitch perfect four part harmony.As others have said, it’s a great disk or it wouldn’t still be in production after 16 years.
(Wouldn’t have won a Grammy either.)The CD is also a great introduction into traditional or ‘roots’ country/bluegrass music. Want to more of the same style music? The enclosed 22 page booklet points you in the right direction.
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The young director’s previous film and first feature, the futuristic sci-fi drama THX-1138, had been a disappointment both critically and commercially. Lucas’ wife, Marcia—as well as friend Francis Ford Coppola—urged him to make something more relatable. “Don’t be so weird,” Lucas recalled Coppola telling him. “Try to do something that’s human … Everyone thinks you’re a cold fish, but you can be a warm and funny guy, make a warm and funny movie.”
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Lucas and company planned to shoot the film in San Rafael, California, as the real setting—Modesto—had changed too much since 1962. But after just one day in San Rafael, the city council gave them the boot. Not only had a member of the crew been arrested for growing marijuana, but the first night of filming and its accompanying street closures had drawn complaints from local businesses. The production moved 20 miles north to Petaluma, where things ran a bit more smoothly (at least in terms of interactions with the locals).
No abduction has captured the public’s attention quite like the 1932 taking of Charles Lindbergh III, whom press dubbed “Little Lindy.” The 20-month-old was seized from his second-floor bedroom in the Lindberghs’ home in Hopewell, New Jersey, on March 1. Ransom notes followed, and although Lindbergh paid, the child was never going to return: His body was found May 12, about 4.5 miles from the Lindbergh home. Police determined that he had been killed on the night of the kidnapping. During the trial of alleged perpetrator Bruno Hauptmann, one business decided to offer a morbid souvenir to the attending public: a tiny replica of the ladder Hauptmann used to climb into the baby’s window. Author Maurice Sendak (Where the Wild Things Are) later purchased one. Sendak had long been fascinated with the case, which dominated headlines during his childhood.
11. THERE’S A REASON ELVIS PRESLEY IS CONSPICUOUSLY ABSENT FROM THE SOUNDTRACK.
Additional sources:Easy Riders, Raging Bulls: How the Sex-Drugs-and-Rock ‘n’ Roll Generation Saved Hollywood, by Peter BiskindSkywalking: The Life and Films of George Lucas, by Dale Pollock
9. THE PRODUCTION WAS KICKED OUT OF TOWN AFTER ONE DAY OF SHOOTING.
Before flying around the world was a daily occurrence, aviator Charles Lindbergh (1902-1974) made history by becoming the first person to complete a solo transatlantic flight in 1927. The feat made him a national hero, and then he became a tragic figure: The kidnapping of his infant son in 1932 remains one of the most indelible true-crime cases of the 20th century. Check out the following facts for more on Lindbergh’s life in and out of the cockpit.
Jack, a Baptist tobacco farmer from a small town in Kentucky, was asked by his nephew to record himself saying Ulysses’s lines. After two months of shooting, the Coens asked why Clooney was saying every line perfectly, but omitting all the “hell”s and “damn”s from the screenplay; Uncle Jack refused to say those words. Jack had never been on a plane before flying in for the premiere.
9. NELSON AND CHRIS THOMAS KING WERE THE ONLY ACTORS WHO DID THEIR OWN SINGING.
O Brother Where Art Thou? Soundtrack Black & White Split Vinyl
Tim Blake Nelson read it twice while attending Brown University. Before they asked him to play Delmar, the Coens sent Nelson the script and asked him for advice. The two used the comic book version of Homer’s epic when writing their script.
The brothers visited him in Phoenix while he was making Three Kings (1999), wanting to work with him after seeing his performance in Out of Sight (1998). Moments after they put their script on Clooney’s hotel room table, the actor said “Great, I’m in.”
While pilots John Alcock and Arthur Brown had made a nonstop transatlantic flight in June 1919 from Newfoundland to Ireland, it was only half the distance of Lindbergh’s goal of flying from New York to Paris. A hotel owner named Raymond Orteig had offered a $25,000 prize to the first person to travel that route, but for several years, no one took him up on it—a testament to the fact that few believed it could be done.
Throughout the entire shoot, Nelson acted during the day and edited O (2001), the Othello update starring Mekhi Phifer and Julia Stiles he had directed, at night.
Call it Bluegrass, Hillbilly or White Gospel, the tunes on this soundtrack-style album based on the hit movie O BROTHER, WHERE ART THOU? are either vintage and authentic, or modern and authentic. Younger listeners may not realize the stir the movie and this album created when they were released because this subgenre of American Folk had been ignored by the national mainstream for many years prior; so much so that fans-in-the-making were known to go into record stores asking for ‘some of that O BROTHER, WHERE ART THOU? music.
‘ And here it is still! Even the singers are authentic to the film, except that George Clooney’s voice had to be dubbed. My only real gripe is that the mixture of scratchy monaural recordings from the Thirties and modern multitrack recordings from the turn of this century makes for uneven sound quality.
Still, well worth having.
In the early days of aviation, flying was considered a high-risk proposition. After serving as a second lieutenant in the U.S. Army, Lindbergh took a job delivering airmail between St. Louis and Chicago. The expedited schedule meant Lindbergh and other pilots flew at night with poor visibility, had to push through inclement weather, and suffered from fatigue. Lindbergh learned to deal with many of the dangerous variables of piloting, which prepared him for an audacious goal: making a transatlantic flight solo.
3. CONTRARY TO POPULAR BELIEF, THERE IS NO ACTUAL CONNECTION BETWEEN AMERICAN GRAFFITI AND HAPPY DAYS.
Born in Detroit on February 4, 1902, Lindbergh spent his childhood in Washington, D.C., where his father, Charles August Lindbergh, was a congressman, as well as in Little Falls, Minnesota. While in Little Falls, he saw a “barnstormer,” or daredevil pilot, buzz into town. “Afterward, I remember lying in the grass and looking up at the clouds and thinking how much fun it would be to fly up there among those clouds,” he later recalled.
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I’ve seen this movie so many times since buying it I almost know it by heart! I love the music!! Old timey like me. There is a good story line here, and the movie is very funny. George Clooney and pals are wonderful inept cons on the run, and the mischief they get into is too good to be true.
Throw John Goodman in for good measure and it’s priceless, and the music makes it all worthwhile.
Although there was a $25,000 prize involved, Lindbergh’s real wealth came from the public’s mythologizing of the feat. City after city threw him celebratory parades, and he eventually made it to every state in the union to acknowledge their fascination with his achievement. Eager to understand both the pilot and the trip, they made his 1927 autobiography, We, a bestseller. Lindbergh also wrote articles about aviation for The New York Times. Together, the projects were said to have made him a millionaire.
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The concept of filling an entire soundtrack with nothing but preexisting popular songs (rather than an instrumental score) was still new, with Easy Rider (1969) having been the first major example. The American Graffiti double album included 41 of the 43 songs heard in the movie, arranged in the order they appear, missing only “Gee” by The Crows and “Louie Louie” by Flash Cadillac & the Continental Kids.
5.0 out of 5 starsTraditional Bluegrass/Country Music Covered the Right Way
The event was thought to have instilled a curiosity about air travel that lasted Lindbergh’s entire life. After dropping out of college at age 20, Lindbergh started working for the Nebraska Aircraft Corporation, which repaired and sold airplanes. While a fellow employee flew aircraft for publicity purposes, Lindbergh would step out onto the plane wing to attract even more attention. He later got his pilot’s license at the Army Air Service, graduating in 1925.
A representative watched the scene where the cow gets hit by a car 10 times, even after being told the cow was digitally created. Eventually, the organization was convinced.
Had a Friend that wanted this and he couldn’t find it anywhere. Love the Blue-Grass and these Songs are all Time favorites..
Happy Days premiered five months after American Graffiti was released. It was set in the ’50s, had Ron Howard playing a teen very similar to his American Graffiti character, used “Rock Around the Clock” as its theme song, and even borrowed the American Graffiti font for the credits. You’d think that Happy Days was somehow a spin-off of the movie, but you’d be wrong. It actually began as an unsold pilot in 1971 and aired in 1972 as part of the anthology series Love, American Style. (Lucas watched it at some point when he was considering casting Howard in American Graffiti.) After the movie took off, and with ’50s nostalgia in high gear (Grease was burning up Broadway), ABC reconsidered the Happy Days pilot, ordered a series, and did everything they could to make it remind people of American Graffiti. It ran for 10 years and was one of the most popular sitcoms in TV history.
The film ends with title cards revealing what happened to the main characters (the male ones, anyway) afterward, much of which isn’t happy. The co-writers Lucas hired early on to help him develop the script, Willard Huyck and Gloria Katz, found it depressing and strange and tried to talk Lucas out of it but never succeeded. (Stubbornness is a recurring theme in stories about Lucas.)
Despite the continued public adoration, Lindbergh managed to find himself in one major media disaster. He repeatedly voiced concerns over U.S. participation in World War II, believing that his country was ill-prepared to hold its own in European territory. In his most controversial comments, he told a crowd during a speech in Iowa in 1941 that the Jewish population was “pro war” as a result of the atrocities committed by Germans. Though he was prohibited from serving in the military by an irate President Franklin Roosevelt, Lindbergh wound up flying 50 combat missions in the Pacific for a private airplane contractor. The accusations of being pro-German or anti-Semitic followed him for the remainder of his life. In the early 1940s, his idea of American isolationism was even the target of satirical political cartoons by Theodore Geisel, otherwise known as Dr. Seuss. On a “Lindbergh quarter,” Seuss imagined an ostrich with its head in the ground instead of an eagle.
Joel Coen revealed as much at the 15th anniversary reunion. “It started as a ‘three saps on the run’ kind of movie, and then at a certain point we looked at each other and said, ‘You know, they’re trying to get home—let’s just say this is The Odyssey. We were thinking of it more as The Wizard of Oz. We wanted the tag on the movie to be: ‘There’s No Place Like Home.’”
The future Han Solo had become disenchanted with showbiz and was working as a carpenter to support his wife and two children when he got the American Graffiti audition. His character, Bob Falfa, was supposed to have a flattop, but since Ford didn’t care much whether he made the film or not, he issued an ultimatum: He wouldn’t do it if it required cutting his hair. A compromise was reached, and Bob Falfa wears a Stetson hat throughout the film.