Famously drawn on Dartmouth fraternity life, the raunchy, exaggerated depictions of Greek social scene and over the top humor in 1978 comedy “Animal House” still resonate with today’s college students. Author Jeff Nelligan explores the film’s cross-cultural bridge in his recently released short satirical book, “When the Germans Bombed Pearl Harbor: Animal House in Western Intellectual Thought,” a faux-academic study of “Animal House,” which was co-written by Dartmouth alumnus Chris Miller ’63. In the book, Nelligan frames the film as a cornerstone of the Western intellectual tradition, comparing it to classical works by authors like Homer and Shakespeare. In doing so, Nelligan playfully applies the language of high cultural theory to a film rooted in college chaos and irreverence.
The Dartmouth spoke with Nelligan about his inspiration for the book, his use of satire and the lasting place of “Animal House” in college culture.
Why did you choose to write about Animal House?
JN: Some colleagues and I were discussing a solution to a problem at work, and when someone gave a suggestion, a Gen-Z colleague responded, “Well, that’ll get us on double secret probation.” The room was filled with people across three different generations, and everyone burst into laughter. We all recognized the “Animal House” line and the context of what it meant in the movie. I was astounded by the intergenerational reach this movie had.
I have always wanted to work with “Animal House” because I am a big fan of the movie myself. My sons love it; all my peers from jocks to military guys to political types and artists all love it.
I thought the funniest way to look at the movie would be through this mock-academic piece that explores “Animal House” as a serious movie, like “Gone With the Wind” or “Citizen Kane.” Naturally, the film’s academic setting of Faber College props up this satirical intellectual backdrop.
Can you give a synopsis on your satirical argument of how “Animal House” fits into the Western Canon?
JN: I’m hardly a great scholar, but I appreciate how the depiction of rebellion in “Animal House” fits into the classic trope of cultural subversion in American literature and arts. The rivalry between the Delta House and the preppy Omega fraternity is a classic literary trope: the protagonists not only rebel against the uptight Omegas, who are favored by Faber College’s administration, but also the authoritarian at the school, Dean Wormer.
The 17th century philosopher, Jean Racine, created the famous anti-hero archetype — the distinct socially distracted, insular guy — and I wanted to challenge the centuries-old thesis of the anti-hero. Throughout the book, I look at each character and expand on their complexities.
You go into depth on several “Animal House” characters by comparing them to famous literary icons: Larry and Kent’s transformation from “eager frosh to Pinto and Flounder” is compared to a divine “homeric metamorphosis.” What was your favorite literary parallel you drew in your book?
JN: It sounds so ludicrous to say, but my favorite literary parallel would be connecting Pinto and Flounder’s journey to the Odyssey. They come into the story freshly three days into school, and after entering Delta House during pledge week, suddenly they’re completely changed. Like Odysseus, their journey doesn’t end there.
Starting some place new, especially in college, every kid goes through the challenge of coming of age in a new setting and most of them overcome big life changes. Beyond university, we all undergo self-discovery when finding our identity in a new place. That’s what makes Dorfman and Larry’s transition into Pinto and Flounder so relatable.
To quote your chapter on Bluto, a beloved character and member of the Delta fraternity and known for his heavy drinking and out-of-pocket comments, “… Bluto utters about 2.17% of all dialogue. But he silently commands 100% of the film’s gravity and explosive power.” What makes his character so special for you?
JN: Bluto is definitely my favorite character. Who doesn’t love Bluto? In the book, I make the joke that he should get an Academy Award for eyebrow raising. I wanted to give the actor John Belushi credit for the physical comedy of his acting that brought him huge acclaim. He doesn’t say much in the movie, but he becomes iconic for his facial expressions and eyebrow movement. They’re completely evident in this film, which was Belushi’s big breakthrough. It was that movie that made Belushi iconic, and after that film that he took off as an actor.
In Chapter 4, you write: “What is so refreshing about ‘Animal House’ is its unabashed portrayal of pure unfiltered sexism, neo-pornography and the fetid fish-like stench of misogyny. That’s because we happily rejoice that these shameful practices have since been eradicated forever from American arts, culture and society. The women of Faber College don’t serve as tokens of abuse so much as they remind us of the equality and dignity afforded all women today. Amen.” How can satire be used as a mechanism to reconcile with more problematic, outdated parts of beloved movies such as Animal House?
JN: This line is unfortunately obviously satire because, unfortunately, misogyny and marginalization hasn’t been eradicated from American culture, and I think that’s why the joke still rings true. I have seen how even though movies like ‘Animal House’ are criticized for being outdated, there still exists an undercurrent of misogyny and racism across our media, from Instagram to TikTok or television.
Through satire, I’m hoping to point out here how as a culture we feel like we’re so enlightened and look at a movie like this and think that this degradation isn’t present in today’s society, but it is still prevalent.
The lever of satire pushes people to read statements like this and realize the true issues of society. Issues like sexism and antisemitism joked about in “Animal House” are apparent today. Satire gives people the mechanism to look inwards and realize that unfortunately, nothing has changed.
You depict the rivalry between Delta Tau Chi and Omega Theta Pi as an almost mythic, Shakespearean tale of two opposed houses. The film’s exaggerated display of frat rivalries and “frat bros” definitely still resonates across college campuses and especially among Dartmouth students, where Greek life is very prevalent still today. Why might your satire be appealing to current college students, specifically those at Dartmouth?
JN: Satire in general makes people appreciate the humorous side of life. I think this book will resonate with college kids, especially Dartmouth students, because it offers a lighthearted way of looking at academic writing.
Reliving the movie through a faux academic style is something every Dartmouth student or college academic can understand. Whether in English or philosophy classes, everyone experiences these serious academic, ponderous and sometimes pretentious pieces of literature. You all are in an atmosphere where you have to read so much academic jive, and then this offers the opposite. This pokes fun at everything I was reading every night throughout college. It’s a fun way of looking at academics.
College students understand the setting of “Animal House.” They can draw parallels between these stereotyped characters and their own Greek life, and also understand poking fun at the serious academic life in which they’re surrounded.
This interview has been edited for clarity and length.
