Dr. Strangelove [Blu-ray]

Kubrik originally set out to do a serious treatment of the book. But Kubrik found as he tried to develop the screenplay that he kept running into scenes that he ended up writing as satire. Recognizing the challenge, Kubrik enlisted the talents of one of the best comedic screenwriters in Hollywood, Terry Southern, to do the screenplay.

Casting the film was part genius and part hit-and-miss happy accident. ... Somehow Slim Pickens' name came up and Pickens accepted the role of the B-52 bomber pilot. Even more ironic yet, Slim Pickens was more conservative than Dan Blocker, but Pickens never caught on during the film's production that Dr. Strangelove was a comedy, much less a satire and a farce unsympathetic to the official propaganda of the cold war.

In of itself, it was a comic master stroke telling Pickens play the role seriously. Pickens was apparently no great wit, so Kubrik was able to keep Pickens completely unaware that Pickens was actually playing in a comedy, not a serious war movie (one can only assume that the humor of the situation was not lost on the other cast members, including James Earl Jones who played Capt. Kong's bombardier.. "Don't tell Slim this is all a big joke, we have to let him think this is a real war movie." ).

Other than Peter Sellers' roles, George C. Scott (later in "Patton") and Sterling Hayden delivered memorable performances. Both were obviously instructed to play their roles "over the top." Kubrik instructed Scott to overact the role of the cigar-smoking, gut-slapping, martini-drinking & womanizing General Buck Turgidson (get it? Turgid-son?). In the scene in the war room where Turgidson exuberantly proclaims the spectacle of a B-52 bomber evading radar by hedge-hopping, Kubrik instructed George C. Scott to deliberately overact the part. Kubrik had Scott re-take the scene several times, asking Scott to make it even more over-the-top than before. On the last take of that scene, Scott practically performed it as a burlesque parody, which was of course, the final take that Kubrik actually used.

Sterling Hayden delivered a brilliant performance as the psychotic Brigadier General Jack D. Ripper, the Air Force general who unilaterally orders the nuclear strike against the USSR. The confusion of Cold War paranoia, paranoid psychosis and false sexual power in Hayden's scenes is the blackest of black satire. Totally over the top, ludicrous and frightenlingly possible (what if one of your top military brass really went insane and over-rode all the safe-guards against nuclear war?). The insane babblings of General Ripper set the film's direction and act as its centerpiece, delivering both Kubrik's satire of anti-communist propaganda and the air of impossible odds for the rest of the film's characters to overcome that they might somehow avert doomsday.

Peter Seller's performances as the President, the British officer and Dr. Strangelove (a left-over Nazi scientist) are memorable, Sellers delivers the title role as the deranged wheelchair-bound Nazi scientist who suffers from involuntary palsied "Seig Hiels!" in his right arm. Again sex is the real underlying motive to yet another character and the opportunities for a sexually prodigious post-apocalyptic eugenic world brings the deranged Strangelove to a frenzied outburst of libidinal energy: "Mein Fuhrer! I can vwalk!" But as much as I enjoy Sellers' roles, they seem overshadowed by the rest of the film's characters. P>It comes probably of no surprise that the U.S. Air Force refused to assist Kubrik in shooting the movie. Having to choice, Kubrik had to resort to mocking up the B-52 flying scenes and bomber interior cabin scenes as best he could (the bomber interior was apparently such a good replica of the real thing that the FBI launched an investigation into who gave Kubrik such a detailed layout of a B-52's flight deck). Appropriately, the exterior B-52 flying scenes hold a comic flaw if you look closely enough: In one scene, as the damaged bomber hedge-hops across the Siberian taiga (northern boreal forest), you can see that the underlying shadow of the plane is actually that of a four-engine propellor aircraft and doesn't match the profile of the overlaid B-52 model.

Suffice it to say, when the movie came out, it was not universally received or even widely understood. It was drummed by political commentators and movie reviewers who found it to be tasteless and sophomoric. The studio was very concerned about the potential a negative backlash from its release (consider that in the same year, the Manchurian Candidate was withdrawn from theaters after Kennedy was assassinated). An internal memo described Dr. Strangelove as "a huge, sick malefic joke" and questioned the wisdom of even releasing the movie at all. After all, the movie starts off with B-52's and tanker planes copulating during mid-flight refuelings, displays Air Force "Peace is Our Profession" billboards in the midst of a fire fight between the US Army and Air Force security, depicts two Air Force generals as complete sex-obsessed baffoons, one a psychotic and the other a braying ass, delivers a deranged Nazi scientist and finally a cowboy pilot bucking the biggest phallic bronco of his career (never mind blowing up the world).

I can think of few other films whose film makers so defied convention and created a story that really turned conventional wisdom on its head. Dr. Strangelove keeps coming at you as one outrageous scene after another, interspersed with segments of complete straight-faced dead-pan, piling them all on until the fateful end. When Pickins died in 1983, CBS news anchor Dan Rather delivered the obituary replete with the out take of Pickins riding the bomb (Perhaps DeForest Kelley topped that and made good on his threat to have "He's dead, Jim" engraved on his tombstone....).

There are some things you just can't live down: Being the face that gets a great closing falling scene that leads to the end of all life on Earth happens to be one of those things. Poor Slim, he's probably suffering in a purgatory of a Liberal Methodist heaven.

In closing, I have to agree with that long-forgotten studio executive who wrote in the memo: Dr. Strangelove *IS* a huge, sick malefic joke. But it is one of the finest huge, sick malefic jokes ever created, and stands as a film masterpiece. Those who extoll the virtues of this fil


Stop worrying and love this movie   January 23, 2001
Joel R. Bryan (Athens, Georgia United States)
40 out of 42 found this review helpful

Could a sane man initiate global mass-destruction? Can any political system that would destroy all life on earth as it valediction claim the moral high ground, now that we've entered a murder-suicide pact so absolute it even involves all future generations of life on earth? Liberalism, conservatism, capitalism, communism- they all become moot in the face of extinction.

So we have "Dr. Strangelove," the movie that dares point out how our drive to destroy ourselves just might be some sort of twisted outgrowth of our libido. Hardly a moment goes by in this film without sexual text or context. Even the two bombs in the B-52 (named by its crew, "Leper Colony") are scribbled with what were then considered come-on lines. Deranged Gen. Jack D. Ripper (Sterling Hayden) has sent his air wing into the Soviet Union because he felt a "loss of essence" during the "physical act of love," and is certain this is caused by flouridated water.

Peter Sellars plays three roles, wimpy President Muffley, RAF Group Captain Lionel Mandrake and the title character, the bizarre, wheelchair-bound not-so-former Nazi advisor to the President. The awesome George C. Scott turns in a marvelous performance as Gen. Buck Turgidson, who has difficulty hiding his enthusiasm for Ripper's plan.

But the revelation here is Hayden (veteran of many a manly role), playing a character so concerned with losing his virility, he sets the world on course for an explosive and very final climax. Hayden's performance is a masterpiece of subtle derangement- no drooling or chewing the scenary. Watch for Sellar's reaction when he realizes Hayden's burly, muscular symbol of American power, in his medal-bejeweled Air Force uniform, is completely, irretrievably round the bend. It's a moment of pure, comic horror.

Sellars' characterization of Dr. Strangelove is the epitome of the post-nuclear man as monster. He's completely comfortable, almost gleeful, when talking about mass-murder as an abstraction and a political expediency.

Beautifully filmed in black and white (which gives it a certain Cold War veracity) and featuring some impressive sets and effective, documentary-style combat footage, "Dr. Strangelove" is one of Stanley Kubrick's finest films, uncompromising as it condemns hubris and macho posturing on all sides. And it does it with a weapon hopefully more effective in the long run than A-bombs and H-bombs. Humor.

Watch for Slim Pickens as twangy-voiced Maj. "King" Kong: his final scene has become iconic, and will remain in your mind for days. This movie also features James Earl Jones' movie debut, and yes, even then he had that impressive voice.


How to make armageddon funny? Use a vicious sense of humor!   January 30, 2001
Mike Freed
30 out of 32 found this review helpful

I would have loved to been a fly on the wall when the producers of "Dr. Strangelove" tried to sell it to the studio.

"Well, you see, guys, this film is about worldwide Armageddon. This Air Force general goes nuts because he thinks the Russians are sapping his semen with flouride, and he sends his B-52s to attack them. Problem is, if his forces succeed, the Russians will set off a doomsday machine that will kill all life on Earth. The president tries to consult with the Russian premier on the hotline, but the premier is too drunk to understand what's going on. So, the wrap up is that one American plane succeeds in getting through, and the pilot has to ride the H-bomb down to its target, like a bucking bronco. The world ends. Oh, and it's a comedy."

Thank God for Hollywood of yore...could you imagine today's studios saying, "Sure, we'll pony up about $50 million for this one"? Not a chance.

That's what makes "Dr. Strangelove" such a treasure: no movie like this will ever be made again. It is horrific and viciously comedic at the same time. It is also masterfully crafted, as you'd expect from a Stanley Kubrick film, and aside from some cheesy visual effects of a B-52, it doesn't feel the least bit dated.

If anything, the film's sarcastic, irreverent tone fits the cynical 21st century far better than the 1960's, a time when the president was a national hero. Am I the only one who can see Bill Clinton's face lighting with happiness at the prospect of being locked in a mineshaft for a hundred years with ten "highly stimulating" women?

But in the idealistic world of 1964, such thoughts were absolutely radical, which makes "Dr. Strangelove" more than a great moviegoing experience; it was a cultural watershed, ushering in the cynical late 1960's with a distinct "bang."

Of course, no review of this film would be complete without some of its absolutely amazing moments: General Ripper's speech about his "precious bodily fluids"; George C. Scott's megalomaniacal, hyperactive General Buck Turgidson, who argues for an all-out attack on Russia because the worst they can do is "muss our hair"; Slim Pickens' Major Kong, who, upon inspection of a survival kit (complete with nylons and a miniature Bible/Russian phrase book), declares that "a guy could have a pretty good weekend in Vegas with all this stuff"; and, of course, Peter Sellers' brilliant triple role as the befuddled U.S. president (who declares, "no fighting in the War Room!"), the properly British but quite persistent Captain Mandrake, and the self-asphyxiating ex-Nazi Dr. Strangelove.

The film is also a feast for the eyes; Ken Adam's "war room" set is absolutely smashing (in fact, Ronald Reagan, upon touring the real War Room in the Pentagon, complained that it didn't look nearly as impressive as it did in this film), and the footage of the "battle" for General Ripper's air base is amazingly realistic. The interior set of Major Kong's B-52 was painstakingly constructed from pictures of a real B-52 (as you'd expect, the Defense Department refused to cooperate in the making of this film), and is absolutely convincing.

Kubrick's direction is flawless, and manages to combine his well-known knack for ice-cold intellect with warm and very human performances.

In all, "Dr. Strangelove" is a treasure, and belongs in any collector's cabinet.


The Greatest Movie Ever Made   July 2, 2000
Candace Scott (Lake Arrowhead, CA, USA)
34 out of 38 found this review helpful

I have seen "Dr. Strangelove" over 100 times which proves either I need to get a life or I have very good taste. I hope it's the latter.

This is, quite simply, the most complete and the most brilliant film ever made. There is not one boring, poorly acted or superfluous scene in the entire movie. The performances are simply outstanding. Peter Sellers in his three roles is, as always, superlative. But George C. Scott, not generally noted for comedy, proves he is a comedic actor of the highest order.

Slim Pickens gives an absolutely hilarious performance as Major Kong. Watch how he takes his cowboy hat out of the safe, and his accent when he delivers the classic line, "A fella could have a pretty good weekend in Vegas with all that stuff!"

Keenan Weenan delivers an absolutely dead-on performance as Bat Guano ("if that really is your name...") and Kubrick somehow managed to drag a riveting performance out of Sterling Hayden, not normally known as any great shakes in the acting department.

This film is gorgeously directed, paced and is literally perfect. Watch particularly the lengthy scenes in the war room, with Sellers as President Muffley delivering his lines in a flat midwestern American accent to Dimitri, the fun-loving Russian premiere.

If you have never seen "Dr. Strangelove," you're in for a cinematic experience you'll never forget. You can watch it dozens of times and still laugh, still appreciate the outstanding performances and marvel at this perfect motion picture.


No fighting, please! This is a great movie!   April 11, 1999
Jason
19 out of 20 found this review helpful

Following the obligatory, too-sober-to-be-true "this can never really happen" disclaimer, we are treated to approximately 90 minutes of sheer (though greatly understated) insanity. From General Jack D. Ripper (Sterling Hayden) ordering a nuclear attack on the Soviet Union for very personal reasons, to the concluding montage of atomic explosions accompanied by Vera Lynn singing "We'll Meet Again," we enter a world where the fate of humanity rests with ineffectual leaders, the sexually preoccupied, egomaniacs, and madmen (Not much different from reality, actually.). This is black comedy at its very finest, set in an atmosphere that is (Dare I say it, in light of Stanley Kubrick's last movie?) vaguely Nabokovian.

Peter Sellers is magnificent in three roles: British Captain Lionel Mandrake, who almost saves the world from nuclear destruction; Adlai Stevenson-like Merkin Muffley, the decent but ineffectual U.S. President who can't control the insanity surrounding him; and Strangelove himself, the German genius who can't quite hide his naughty past, and who has his own plans for the post-nuclear world. As General "Buck" Turgidson, George C. Scott portrays a man more concerned with glory (A possible precursor to "Patton?") than with finding a sound solution to the real problem. And, of course, one cannot forget Slim Pickens as bomber pilot Kong, whooping and hollering as he waves his cowboy hat, suggestively straddling an atomic bomb in the ultimate Freudian Liebestod.

From sexual obsessions and the eroticization of death (as in the opening sequence of a fighter plane refueling in midair), to the immature behavior of people deciding the world's fate (especially the antics of General Turgidson), to the telling lack of female characters (with the exception of Turgidson's scantily-clad secretary, who appears briefly and whom Turgidson urges to, "Say your prayers."), "Dr. Strangelove" packs more interest into ninety minutes than many over-extended films with lots of pyrotechnics and explosions.

Of course, we cannot forget Kubrick's direction. He uses all the tricks: intricate detailing, the play of chiaroscuoro, bizarre camera angles, the use of music, etc., etc. And I cannot imagine it in anything but black and white (So hands off, Ted!). Although the American Film Insititute ranked it Number 26, I would at least place it somewhere in the Top 10, over some of the other films that ranked higher for what (I believe) may be sentimental reasons. This is a film where one of our greatest directors found his voice. And what a voice (or eye) it was!