WHAT: 1776 (1972, 4K DCP)
WHEN: May 13, 2026 1 PM & 7 PM
WHERE: Pickwick Theatre, Park Ridge, IL
WHAT ELSE: Special guest Steve Darnall, host of radio’s “Those Were the Days” (90.9 FM);
pre-show organ music by Jake McDonagh at 6:30 PM.
HOW MUCH: $12/$10 advance or $10 for the 1 PM matinee
Advance Tickets: Click Here and select date and time (7 PM).
“This is a revolution, dammit! We’re going to have to offend SOMEbody!” ~John Adams (William Daniels)
This year marks the 250th anniversary of the signing of the Declaration of Independence. To commemorate this defining moment in our nation’s history, the Pickwick Theatre Classic Film Series will be screening 1776 (1972), a musical based on the 1969 Broadway hit that tells the story of our Founding Fathers and the days leading up to July 4, 1776. The film was released at a time when our country was coming apart because of civil unrest and the Vietnam War. The intent behind this work was to tell a story that reminded us of where we came from– and what our Founding Fathers originally had in mind for us. We feel now is a good time to be reminded once again.
The original 1776 Broadway show was conceived by Sherman Edwards and Peter Stone. Edwards had written pop songs in the 1950s but always had an interest in history. He wrote the music, lyrics and book. Stone then put it all together and added some brilliant humor. It was directed by Peter H. Hunt– not to be confused with the Peter Hunt who helmed On Her Majesty’s Secret Service (1969). Hunt’s theatrical experience prior to this had been in stage lighting, but he was able to get the assignment when sixteen other directors turned down the original play! The fact that he knew how to cut down the acts and make it a stronger story added to his credibility. His success with the musical eventually led him to being hired for the film version after producer Jack Warner purchased the film rights.
Despite the fact that it was based on a Tony Award-winning musical, the concept for a film like this was somewhat of a gamble for any studio. Decades before the popularity of the musical Hamilton, the question in the early 1970s was whether audiences would come out to see our founding fathers harmonizing their way to independence. Even a New York Times critic said later he thought it was a dumb idea. But the filmmakers believed the pages of history– with the old men in powdered wigs– could be brought to life and given energy by depicting very human people who simply wanted to get things done.
Many of the cast members from the stage version recreated their roles for the film, most importantly, William Daniels as John Adams. Daniels is probably best known for his work in television, such as being the voice of K.I.T.T. in the 1980s TV show “Knight Rider” and Dr. Craig on “St. Elsewhere.” A younger generation knows him best as Mr. Feeny in the 1990s sitcom “Boy Meets World.” Also in the cast is David Ford as John Hancock, Ken Howard as Thomas Jefferson, Howard da Silva as Benjamin Franklin, and Blythe Danner as Martha Jefferson. (Blythe was in her early pregnancy with Gwyneth Paltrow during production.) Donald Madden, who portrays delegate John Dickinson, is one of the members of the cast who did not come from the Broadway show. This would be his only feature film.
William Daniels and Howard da Silva
John Adams, the representative for Massachusetts, is determined to put forth a motion for independence from Great Britain and its king. Disliked by other members of the Second Continental Congress, Adams follows the advice of Ben Franklin to allow Richard Henry Lee of Virginia to submit the resolution instead. The vote to form a new nation gains momentum, but there are more conservative factions, such as John Dickinson, who seek a reconciliation with the mother country. Adams requests a delay in voting in order to put their ideas to paper and write a declaration– the tenets of which would state their reasons for separation. The document is amended, but it comes down to the question of slavery, thus alienating the Southern faction. At this point in history, however, independence had to come first.
The film version adheres closely to the play but opens the action up, making it more cinematic, particularly in the scenes in which John Adams hears his wife Abigail speaking to him. These moments were inspired by the real-life letters between them. The staging of some scenes was considerably altered for film, notably in the song sequence “The Lees of Old Virginia,” which features Ron Holgate (as Richard Henry Lee) consulting with Adams and Franklin from atop his horse. This scene, choreographed around a fountain, was actually the very first sequence Peter Hunt ever shot– for the film and as a movie director. (This, by the way, is the same fountain that would later appear in the opening credits of the “Friends” TV show.)
One of the main alterations was a sequence from the play that was completely eliminated. Towards the end of Act I, there were scenes set at a campfire in New Brunswick– as well as one depicting soldiers shooting ducks with great success. However, by all accounts, these scenes proved so effective that it was difficult emotionally for audiences to return to the drama of Congress. The campfire song that was in the original musical show was re-staged for the film and became the “Momma Look Sharp” number. This song, performed by a courier and recalling the events of Lexington, shows the influence that the Vietnam War had on the production.
1776 was photographed by Harry Stradling, Jr., whose father had shot movies like A Streetcar Named Desire (1951). The cinematography is certainly one of the major highlights, especially in the moody lighting of Independence Hall during the later scenes (with the blinds down) and during songs like “Momma Look Sharp” and “Molasses to Rum.” One of the more impressive camera shots in the film takes place in the opening in which John Adams is standing beside the Liberty Bell in the tower and the camera follows him downstairs back to the hall. The sequence leads to a dolly shot that necessitated the use of a forklift. Stradling, Jr. was nominated for an Academy Award for his work on this production but lost to Geoffrey Unsworth for Cabaret (1972).
Ken Howard, Howard da Silva and William Daniels
1776 was shot over the course of forty-four days at a cost of $4 million dollars. There was no need for a lot of rehearsal time given the fact that most of the actors had already performed their roles for over two years. Though the film was not shot in the actual Independence Hall, an exact replica was designed for the film right down to the color scheme. As a result of building a full-size set with walls on every side, the viewer has a clearer understanding of the geography of the place and the relation of the characters within it. Audiences know exactly who sits where. Additionally, seven blocks of Philadelphia were created in Burbank, California– except for the tower of Independence Hall, which was a matte painting. The cobblestone streets were constructed simply by using asphalt and a “cobblestone” pattern on a steamroller.
The film is immensely enjoyable with some very fine musical numbers. Admittedly, none are quite as memorable as those heard in other musicals like The Sound of Music (1965), for example, but several are quite noteworthy, namely, “Molasses to Rum,” which is sung by the Edward Rutledge character and shows the hypocrisy of Northerners in regards to the issue of slavery. It takes the audience on a journey through a dark chapter in American history. Another favorite is “He Plays the Violin,” which becomes a delightful song with Blythe Danner performing alongside William Daniels and Howard da Silva in an outdoor garden.
One of the numbers, “Cool, Cool, Considerate Men,” ran into internal censorship issues because it struck the wrong note with President Richard Nixon. His issue with the song was that it suggested that the conservative faction of government was holding the United Colonies back from progress. The cast of the Broadway show had, in fact, performed the number at the White House without incident, but when it was later screened there, Nixon requested that his friend Jack Warner remove it. He did while Peter Hunt was vacationing in Europe. (Warner later regretted this decision, but the footage was saved and reincorporated back into the film years later.)
Come ye cool, cool considerate set
We’ll dance together to the same minuet
To the right, ever to the right
Never to the left, forever to the right
Blythe Danner as Martha Jefferson
In terms of historical accuracy, it would be easy to pick apart aspects of 1776. A simple search online can show the various discrepancies. The most obvious, of course, is that our independence was not contingent on the approval of the Declaration of Independence itself. The members had already agreed to form a new country. But for dramatic purposes, this was changed by the filmmakers and certain liberties were taken. On a more minute scale, there was, for instance, no calendar or tally board on the wall; these were simple cinematic tricks designed to aid the viewer. Other details were accurate: Ben Franklin did hire two convicts to carry him into the Hall! But 1776 wasn’t intended to be a documentary, certainly not in its musical form. The wonderful thing about the film is that it reflects the spirit of that time– the general intent and importance of that moment in time. No, Martha Jefferson was never in Philadelphia to help re-direct her husband’s energies into writing the Declaration of Independence, but we get moments of pure cinematic joy that capture the spirit of freedom.
The film was released in November of 1972. Its popularity has grown over the last fifty years, and it remains a favorite for many despite not having the big stars of other musicals. There are die-hards out there who can quote the film and reference songs like “The Egg”– a song that was basically written to even out the musical numbers in both acts. (As a bit of trivia, the song was inspired by the original Broadway theatrical poster depicting an eagle’s egg!) Throughout, there is a nice balance between the musical numbers and the drama. The interplay between the characters makes up so much of what this film is really about as they do battle to make a country happen. One of the main reasons for the film’s lasting success is the ensemble cast, particularly William Daniels. 1776 shows what a fine actor he is, and Daniels is still with us in 2026 at the age of 99!
Joining us for this screening will be Steve Darnall, host of old-time radio’s “Those Were the Days,” heard on Saturday afternoons from 1-5 PM on WDCB 90.9 FM. He will be in the lobby with copies of his “Nostalgia Digest” magazine available for purchase. Steve will also have a limited supply of his award-winning graphic novel, Uncle Sam (1998), available too. (It was illustrated by the legendary comic book artist Alex Ross.) As with the film 1776, Uncle Sam reminds us of the promise of the American dream– but presented in a far different tone! Finally, before the film starts at 7 PM, we will present a dramatic reading of the Declaration of Independence. It’s a document most people know from their grade school days, but few have actually read the entire text as we will do on this night. We encourage families and students of American history to attend the ceremony. In the wake of Ken Burns’ masterful The American Revolution— and with July 4 just around the corner– now is the perfect time to experience a film that is rarely shown in a theatre. It’s the original “No Kings” protest!
~MCH
