Take This Job and Shove It (1981)

PG | 100 mins | Comedy-drama | 15 May 1981

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HISTORY

       End credits also include: “Our thanks to the City and the People of Dubuque, Iowa and especially to Burke McCormick,” “A special thanks to the Pickett Family and the Pickett’s Brewery which is still the only operating brewery in the state of Iowa,” and, “Special thanks to: Black Dog Volkswagen, Minneapolis, Minnesota; City of Minneapolis, Minnesota; Computerland Computers of Cedar Rapids, Iowa; Nick Edwards and the Minneapolis Film Commission, The Lake Point Association, Minneapolis, Minnesota; Schoen’s Antiques, Dubuque, Iowa.”
       End credits state: “Work clothes supplied by Big Ben and Blue Bell, Greensboro, North Carolina,” “Work shoes supplied by Safety First Shoes, Allentown, Pennyslvania,” “Mr. Hays’ and Mr. Mull’s wardrobe courtesy of Jaeger International,” “Shoes supplied by Footgear by Roger Bowman, Beverly Hills, California,” “’Bigfoot’ supplied by Bob Chandler & Midwest 4 Wheel Drive Center, Inc., 5511 N. Lindbergh Blvd., Hazelwood, Missouri,” “’Silver Bullet’ & ‘Thunder ‘N Lightning’ supplied by Everett Jasmer & Off Road Specialities, 8445 Sunset Road, Spring Lake Park, Minn.,” “’Palladin’ supplied by Ron & Donna Tolles, 38 Lake Charles Dr., St. Peters, Missouri,” and, “Mechanic Extraordinaire George Link.”
       On 17 May 1978, Var announced that Mark Lester would produce and direct a film based on the song, Take This Job And Shove It, written by David Allan Coe and sung by Johnny Paycheck, with Elia Katz writing the screenplay. However, the 20 Aug 1979 DV reported that Al Kasha and Paul Baratta purchased the screen rights by Jul 1979, intending to make their screenwriting debut. Ultimately, Kasha and Baratta were not credited onscreen as writers, but became associate producers. As tracked in ...

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       End credits also include: “Our thanks to the City and the People of Dubuque, Iowa and especially to Burke McCormick,” “A special thanks to the Pickett Family and the Pickett’s Brewery which is still the only operating brewery in the state of Iowa,” and, “Special thanks to: Black Dog Volkswagen, Minneapolis, Minnesota; City of Minneapolis, Minnesota; Computerland Computers of Cedar Rapids, Iowa; Nick Edwards and the Minneapolis Film Commission, The Lake Point Association, Minneapolis, Minnesota; Schoen’s Antiques, Dubuque, Iowa.”
       End credits state: “Work clothes supplied by Big Ben and Blue Bell, Greensboro, North Carolina,” “Work shoes supplied by Safety First Shoes, Allentown, Pennyslvania,” “Mr. Hays’ and Mr. Mull’s wardrobe courtesy of Jaeger International,” “Shoes supplied by Footgear by Roger Bowman, Beverly Hills, California,” “’Bigfoot’ supplied by Bob Chandler & Midwest 4 Wheel Drive Center, Inc., 5511 N. Lindbergh Blvd., Hazelwood, Missouri,” “’Silver Bullet’ & ‘Thunder ‘N Lightning’ supplied by Everett Jasmer & Off Road Specialities, 8445 Sunset Road, Spring Lake Park, Minn.,” “’Palladin’ supplied by Ron & Donna Tolles, 38 Lake Charles Dr., St. Peters, Missouri,” and, “Mechanic Extraordinaire George Link.”
       On 17 May 1978, Var announced that Mark Lester would produce and direct a film based on the song, Take This Job And Shove It, written by David Allan Coe and sung by Johnny Paycheck, with Elia Katz writing the screenplay. However, the 20 Aug 1979 DV reported that Al Kasha and Paul Baratta purchased the screen rights by Jul 1979, intending to make their screenwriting debut. Ultimately, Kasha and Baratta were not credited onscreen as writers, but became associate producers. As tracked in the 17 Oct 1979 Var, the 23 Oct 1980 DV, and production notes in AMPAS library files, Kasha and Baratta brought the project to aspiring producer Greg Blackwell, who was then working as an associate producer on Hometown U.S.A. (1979, see entry) with director Max Baer. Blackwell approached Baer with the project, but Baer was not interested. Warner Bros., owners of the song’s publishing rights, had first right of refusal, and passed on the film. Avco Embassy Pictures recognized the project’s potential and helped arranged financing for first-time producer Blackwell, who began developing a script. Avco Embassy acquired the worldwide distribution rights, including all ancillary markets, and planned to provide one-third to one-half of the $4 million budget. The 6 Aug 1980 DV reported that Take This Job And Shove It would be the first feature film financed by the Cinema Group Inc., with Avco Embassy president Robert Rehme noting that the financing from Cinema Group Inc. would “stretch production capital further,” and allow Avco Embassy to have more prints in distribution. DV noted that Jeffrey Bernini developed the story based on David Allan Coe’s song, and Barry Schneider, who also received “story by” credit, wrote the screenplay. In addition to credit for the title song, Coe co-starred in the film as the character, “Mooney.” Johnny Paycheck, famous for performing the title song, had a small role as “Man with hamburgers,” and production notes reported that other country music performers co-starred in the film and contributed to the film’s soundtrack, including Charlie Rich, Lacy J. Dalton, and George Lindsey. Take This Job and Shove It marked the feature film music scoring debut of country songwriter-producer Billy Sherrill.
       The 26 Aug 1980 HR reported that Mac Davis was approached to star in the film, but he declined and the filmmakers decided to hire someone younger and chose Robert Hays. His contract was signed during the week that Airplane (1980, see entry), his feature film debut, was released to great box-office success.
       The 17 Oct 1979 Var noted principal photography was originally planned for Alabama. However, according to the 26 Aug 1980 HR and production notes, the filmmakers scouted the country and looked at approximately 250 breweries before choosing the Pickett Brewing Company in Dubuque, IA. Coincidentally, Pickett had recently been acquired by a conglomerate, mirroring the film’s story line. The script had initially featured a fictional brewery and town, but due to Pickett’s real-life parallel to the script, the filmmakers chose to use the Pickett name and set the film in Dubuque.
       The 24 Jul 1980 DV, the 26 Aug 1980 HR, and the 23 Oct 1980 DV reported that the 1980 Screen Actors Guild (SAG) strike began as principal photography on Take This Job and Shove It was about to commence. According to Blackwell, the film’s production contingencies, including cast commitments only until mid-September 1980, made it imperative to sign an interim agreement, or risk losing the project. Blackwell was the first producer to sign an interim agreement with SAG, and principal photography began 28 Jul 1980 in Dubuque. The company also filmed along the Mississippi River, and on location in Minneapolis, MN. According to the 23 Oct 1980 DV, the project had a seven-week shooting schedule and finished a half-day early.
       The 28 Apr 1981 HR announced the film would premiere in Dubuque, IA, on 14 May 1981. The film opened on 15 May 1981, and the 20 May 1981 Var reported a strong first weekend box-office gross of $3,121,046 at 490 theaters in Los Angeles, CA, Houston, TX, Dallas, TX, Oklahoma City, OK, Tulsa, OK, Miami, FL, Omaha, NE, Kansas City, MO, St. Louis, MO, Jacksonville, FL, and Dubuque, IA. Avco Embassy planned to release the film in 225 additional venues for the 1981 Memorial Day weekend, with a wider release on 5 Jun 1981. An item in the 28 May 1981 DV reported the film’s first eleven day box-office gross was $5,247,095. The 24 Jun 1981 DV and the 25 Jun 1981 HR announced the film’s domestic box-office gross had reached $12,110,106.

      End credits include the following statements: “Bobby Bare and David Allan Coe appear through the courtesy of CBS Records,” “Lacy J. Dalton appears through the courtesy of CBS Records & Sherrill, Inc.,” “Steve Davis appears through the courtesy of Epic Records & Sherrill, Inc.,” “Johnny Paycheck appears through the courtesy of Epic Records,” “Charlie Rich appears through the courtesy of Elektra Records.”

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GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
Daily Variety
20 Aug 1979
---
Daily Variety
24 Jul 1980
p. 1, 30
Daily Variety
6 Aug 1980
---
Daily Variety
23 Oct 1980
pp. 1-2
Daily Variety
28 May 1981
---
Daily Variety
24 Jun 1981
---
Hollywood Reporter
26 Aug 1980
---
Hollywood Reporter
28 Apr 1981
---
Hollywood Reporter
25 Jun 1981
---
Los Angeles Times
15 May 1981
p. 6
New York Times
29 Aug 1981
p. 17
Variety
17 May 1978
---
Variety
17 Oct 1979
---
Variety
6 May 1981
p. 20
Variety
20 May 1981
---
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION TEXTS
An Avco Embassy Film
A Presentation of Cinema Group
A Greg Blackwell Production
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Unit prod mgr
1st asst dir
2d asst dir
Asst dir trainee
PRODUCERS
Assoc prod
Assoc prod
Exec prod
PHOTOGRAPHY
Dir of photog
Cam op
1st asst cam
2d asst cam
2d unit cam op
2d unit asst cam
Helicopter cam pilot
Still photog
Key grip
Best boy grip
Grip
Pat Hall
Grip/Elec
Gaffer
Best boy elec
ART DIRECTORS
Art dir
Asst art dir
FILM EDITORS
Asst film ed
SET DECORATORS
Set dec
Prop master
Asst props
Carpenter
Carpenter
COSTUMES
Asst ward
MUSIC
Mus coord
Mus score prod by
Mus score prod by
Mus ed
Loc musicians
Loc musicians
Studio musicians
Studio musicians
SOUND
Sd mixer
Boom man
Re-rec mixer
VISUAL EFFECTS
Elec spec eff
Titles and opt
MAKEUP
Makeup artist/Hairstylist
Asst makeup/Hairstylist
PRODUCTION MISC
Casting
Exec in charge of prod
Exec in charge of prod
Exec prod mgr
Asst to the prod
Asst to the prod
Prod coord
Prod accountant
Loc coord
Scr supv
Prod secy
Unit pub
Casting assoc
Loc casting
Transportation capt
Transportation co-capt
Distributors representative
Prod asst
Prod asst
Prod asst
Prod asst
Prod asst
Prod asst
Prod asst
Prod asst
Craft service
Utility
Stunt vehicles rigger
Asst to Mr. Sherrill
STAND INS
Stunt coord
Stunt coord
Stuntman
Stuntman
Stuntman
Stuntman
COLOR PERSONNEL
Col by
SOURCES
LITERARY
Based on the song Take This Job and Shove It by David Allan Coe.
SONGS
“You Can Count on Beer,” music and lyrics: Al Kasha, Joel Hirshhorn and Michael Lloyd, performed by: Lacy J. Dalton and David Allan Coe, ©1981 WB Music Corp. (ASCAP), and Warner-Tamerlane Publishing Corp. (BMI), all rights reserved; “How Good It Used To Be,” music and lyrics: Al Kasha, Joel Hirshhorn and Michael Lloyd, performed by: David Allan Coe, ©1981 WB Music Corp. (ASCAP), and Warner-Tamerlane Publishing Corp. (BMI), all rights reserved; “Road Song,” music and lyrics: Billy Sherrill, performed by: Steve Davis, ©1981 Warner-Tamerlane Publishing Corp. and Algee Music Corp. (BMI), all rights reserved; “You Made It Beautiful,” music and lyrics: Billy Sherrill, Steve Davis and Glenn Sutton, performed by: Charlie Rich, ©1981 Warner-Tamerlane Publishing Corp. and Algee Music Corp. (BMI), all rights reserved; “Bigfoot Theme,” music: Billy Sherrill, ©1981 Warner-Tamerlane Publishing Corp. and Algee Music Corp. (BMI), all rights reserved; “Beer Drinkin Christian,” music and lyrics: Lacy J. Dalton and Billy Graham, performed by: Lacy J. Dalton and Bobby Bare, ©1981 Warner-Tamerlane Publishing Corp. and Algee Music Corp. (BMI), all rights reserved; “Crazy Blue Eyes,” music and lyrics: Lacy J. Dalton and Mary McFadden, performed by: Lacy J. Dalton, ©1979 Algee Music Corp. (BMI), all rights reserved; “I Love Robbing Banks,” music and lyrics: David Allan Coe and Guy Clark, performed by: David Allan Coe, ©1981 Warner-Tamerlane Publishing Corp. and World Song Publishing, Inc. (ASCAP), all rights reserved; “Summertime Blues,” music and lyrics: Eddie Cochran and Jerry Capehart, performed by: Steve Davis, ©1958 Warner-Tamerlane Publishing Corp, Rightsong Music, Elvis Presley Music and Gladys Music (BMI), all rights reserved; “Fifteen Beers,” music and lyrics: Steve Davis and Brenda Davis, performed by: Johnny Paycheck, ©1980 Algee Music Corp. (BMI), all rights reserved; “Take This Job And Shove It,” music and lyrics: David Allan Coe, performed by: Johnny Paycheck, ©1977 Warner-Tamerlane Publishing Corp. (BMI) all rights reserved.
SONGWRITERS/COMPOSERS
+ −
DETAILS
Release Date:
15 May 1981
Premiere Information:
Los Angeles opening: 15 May 1981; New York opening: 28 Aug 1981
Production Date:
28 Jul -- early Sep 1980 in Dubuque, IA, and Minneapolis, MN
Copyright Info
Claimant
Date
Copyright Number
Cinema Group, Inc.
21 May 1981
PA102456
Physical Properties:
Sound
Color
Duration(in mins):
100
MPAA Rating:
PG
Country:
United States
Language:
English
PCA No:
26334
SYNOPSIS

Rising corporate executive at the Ellison Group, Frank Macklin, sits beside his co-worker, Dick Ebersol, as their boss, Ellison, discusses the company’s recent acquisition of four breweries, including Star Brewery in Dubuque, Iowa. Ellison purchased the plant from Charlie Pickett, and is going to rename it “Pickett Brewery.” Ellison appoints Frank to oversee the transition, and demands a fifty percent production increase within four weeks. Later, Frank complains to Dick that Dubuque is his hometown and he does not want to return to his former employer as a corporate autocrat. However, Dick insists the job is a test, and if Frank succeeds, he will be promoted to Ellison Group’s senior vice president. Frank kisses his girl friend, Madelyn, goodbye and drives to Iowa. As he nears Dubuque, Frank unsuccessfully attempts to pass two Star Brewery employees in an old, slow-moving car. When the men challenge Frank to a fight, he recognizes his former high school friends, Ray Binkowski and Harry Meade. They invite him to Mooney’s bar that night, but Frank insists he has to work, and agrees to meet them Saturday. Later, at the brewery, Charlie Pickett is surprised that Frank is Ellison’s field executive, and complains that he does not want take orders from a “kid” who once worked for him. Frank ignores Charlie and addresses the management team. He demands immediate installment of the new Ellison equipment, and wants everyone prepared for a major production increase. On the factory floor, the workers learn the company has been taken over. When Ray and Harry see their childhood friend with Charlie, they are ignored by ...

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Rising corporate executive at the Ellison Group, Frank Macklin, sits beside his co-worker, Dick Ebersol, as their boss, Ellison, discusses the company’s recent acquisition of four breweries, including Star Brewery in Dubuque, Iowa. Ellison purchased the plant from Charlie Pickett, and is going to rename it “Pickett Brewery.” Ellison appoints Frank to oversee the transition, and demands a fifty percent production increase within four weeks. Later, Frank complains to Dick that Dubuque is his hometown and he does not want to return to his former employer as a corporate autocrat. However, Dick insists the job is a test, and if Frank succeeds, he will be promoted to Ellison Group’s senior vice president. Frank kisses his girl friend, Madelyn, goodbye and drives to Iowa. As he nears Dubuque, Frank unsuccessfully attempts to pass two Star Brewery employees in an old, slow-moving car. When the men challenge Frank to a fight, he recognizes his former high school friends, Ray Binkowski and Harry Meade. They invite him to Mooney’s bar that night, but Frank insists he has to work, and agrees to meet them Saturday. Later, at the brewery, Charlie Pickett is surprised that Frank is Ellison’s field executive, and complains that he does not want take orders from a “kid” who once worked for him. Frank ignores Charlie and addresses the management team. He demands immediate installment of the new Ellison equipment, and wants everyone prepared for a major production increase. On the factory floor, the workers learn the company has been taken over. When Ray and Harry see their childhood friend with Charlie, they are ignored by Frank. At Mooney’s bar on Saturday night, Frank apologizes, but Harry realizes Frank has an image to protect and is certain Frank will take care of his friends. Harry asks Frank to attend the upcoming company picnic, but Frank again claims he must work. He asks about his high school girl friend, J. M. Halstead, and learns she has returned to town to be a social worker. Frank surprises J. M. at her office and they go bowling. She wonders how many employees will be fired, but Frank insists few people will lose their jobs, and the new method of business will create more work. The next morning, Ray and Harry force Frank to attend the company picnic, and Ray insists that Frank drive his monster truck, “Bigfoot,” in a race. Frank wins the wild race, which ends in a mud pit. Frank pulls J. M. into the mud for a kiss. She takes him to her home, and declares she does not want a commitment before they make love. Later, at the brewery, workers are reassigned duties and the new equipment begins production. Ray, who had been a bottler, refuses to follow orders and transition into the racking department. When Ray argues with the supervisor, Harry calms his friend and leads him away. After several workers complain to Harry, he approaches Frank, who insists that when a plant is automated, employees must be redistributed. Their argument escalates until Frank punches Harry and demands he return to work. Later, Charlie suggests that Frank fire the angry workers, but Frank ignores the advice. Meanwhile, at Ellison headquarters, Dick Ebersol shows a commercial for Pickett’s beer to Ellison and a rich Texan named “Hooker,” who is a potential buyer for the breweries. At Harry’s home, he confesses to his wife that he wants to quit his job, but feels he cannot do anything else. Later, Frank learns that Harry and Ray are not at work, and finds his friends getting drunk outside Ray’s trailer. Frank joins them, arguing that he is building a great brewery and a better future for them. Harry and Ray dismiss their friend, but return to work. Later, Dick telephones Frank to congratulate him on the high increase in production, and reveals he is bringing a buyer to inspect the plant. Frank is stunned to learn Ellison plans to sell the brewery for a huge profit. Furious, Frank rushes to his office and alters the list of job transfers and terminations. Next, he orders the plant manager to drastically slow production. After work, Ray and Harry take Frank to Mooney’s, where everyone thanks him for slowing the production line. Frank worries about Ellison’s reaction, but Harry insists every man in the bar would work hard for Frank. J. M. is also supportive and later makes love to Frank. Meanwhile, Charlie worries that Frank’s actions will affect his deal to run the company after Frank leaves, and he alerts Ellison. Dick is sent to Dubuque to warn Frank that he will be fired unless he gets production back to full speed in two days. J. M. takes Frank to an abandoned factory which used to produce specialty beers, and suggests that they get it working again. Frank is hesitant, but J. M. agrees to work with him, and they call a meeting of the brewery employees. Frank outlines his plan and admits it is risky, but claims it is a chance to build their own future. They must raise $100,000 and Ray is the first to offer the pink slip to his truck, “Bigfoot.” By the next morning, they have raised $27,000. Frank returns to his motel room to find his girl friend, Madelyn, waiting. Moments later, J. M. arrives and is stunned to find Frank and Madelyn taking a shower together. Meanwhile, as Madelyn keeps Frank away from the brewery, Charlie calls a meeting and threatens the workers. Later, at the abandoned brewery, Frank apologizes to J. M., claiming Madelyn is just a friend, but J. M. refuses to listen. Just then, Harry arrives to announce that the others are not coming. Frank argues that Charlie’s threats are a ruse, but Harry admits that the workers’ lives revolve around regular paychecks. Frank declares he should have done his job and left town, without becoming involved with the employees. Now he has to fix the situation with Ellison. However, when Dick and Hooker arrive to inspect the plant, Frank leads a revolt. Workers sabotage the line and Ray sprays Hooker’s entourage with a beer hose. When Charlie learns that Ellison sold him out, he picks up a beer hose and joins the rebellion. Dick grabs an ax, smashes the power box, and the production line shuts down. Unaware of the ruckus, Ellison telephones Frank to offer him a promotion. Frank informs Ellison that he can take his job and “shove it.” As Dick and Hooker leave, Frank tells Hooker to call him about investing in a specialty brewery. Frank joins J. M., Ray, and Harry in the Bigfoot truck and they speed off, crashing through the guard shack, and destroying the time clock punch machine.

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Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

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