Dr. Strangelove (1964)

Dr. Strangelove, 1964 (Dir. Stanley Kubrick)

Kubrick’s “Dr. Strangelove (Or: How I Stopped Worrying and Loved the Bomb), is a masterpiece of darkly humorous chaos and an unforgettable classic. Whether you lived during The Cold War period or not, if you allow the film to envelop you, it will dig deep and stay with you in all its anarchistic glory. 

The story is realistic in the sense that miscommunication and the unpredictability of human nature could lead to precarious situations. The films approach and dialogue, however, are of the surreal variety. Kubrick and co-writers Terry Southern and Peter George, find the perfect tone of comedy in the midst of international turmoil. They could’ve made it more slapstick, and nearly concluded the final film in outrageous absurdity with a conclusive food fight, but that would’ve been all wrong. The film’s real strength is in the fact that the characters are believable, even while they make us laugh, there’s conviction in their bleak circumstances. 

The performances are comic gold. Whether its George C. Scott’s manic General “Buck” Turgidson, Peter Sellers’ trifecta of inspired madness as Capt. Mandrake, President Muffley and the mysterious Dr. Strangelove or Sterling Hayden’s glorious turn as the loony General Jack Ripper that set all the chaos in motion-the film is a study in comedic acting perfection. Sellers effectively distiguishes all three of his characters, each with specific quirks and mannerisms. The way he sells Capt Mandrake's desperation in getting the code from Gen. Ripper in their awkward and uncomfortable exchange is something to behold. Hayden's Gen. Ripper is one of the great, if not overlooked, villains in film history. His misguided, arbitrary mission to "preserve our precious bodily fluids" is equal parts hilarious and alarming. Hayden's delivery of his discovery is inspired comedic splendor. And of course, George Scott is the zany backbone of the picture. His performance as Gen. Turgidson is one of the finest comedic performances that I've ever seen. Scott does more with his face than most actors do with their entire body. I could watch Scott in this role for days, it's effortless and precise, at the same time the most intense and unpred-ictable of the movie. 

Kubrick has a distinct and successful body of work. Of his pieces, no two are alike, yet he has the "makers' mark". Which is to say his films, as a collective whole, can be identified as his own. It's debatable to which is Kubrick's definitive film. Some say his masterpiece 2001: A Space Odyssey is his essential piece, some say Strangelove; others lean towards Paths of Glory or A Clockwork Orange or perhaps his horror epic The Shining. The point is that an argument can be made for each of his films. I love and appreciate his films thoroughly. Dr. Strangelove's dark humor makes me laugh, it's craft makes me smile with the understanding that in Kubrick we get the best of what cinema has to offer. 

And so it begins...

It was at the age of 16 that I discovered the film that initiated my adoration for film. That film was Kubrick's A Clockwork Orange. I'd seen good movies before that and many great films subsequently, but it was this one that introduced me to Kubrick and the wonder of cinema. 

I'm not saying that A Clockwork Orange is Kubrick's best or essential film, after all I've seen his masterpieces 2001 and Dr. Strangelove and his glorious horror epic The Shining, but A Clockwork Orange brought his body of work to my attention. Moreover, this is also not my review of the film-this is an assessment of the origins of my relationship with the movies. 

My initial viewing of A Clockwork Orange was with equal parts fascination and fright. The aspects of the movie that stick with you long after the film ends is its visuals and soundtrack. Kubrick's camera was magnificent, his choice of music was intriguing. Those who've viewed the film, whether favorably or not, can not forget the looming influence of Beethoven over our hero Alex Delarge or the odd pairing of the song "Singing in the Rain" with a rape scene. And of course, who can forget the language used by the characters in this futuristic London based on the novel by Anthony Burgess. 

Malcolm McDowell's performance as the dastardly Alex is key to the success of the film. His is one of the finest villainous performance I've ever witnessed. His Alex was scary, sly, sarcastic and charming all at the same time. His journey from evil degenerate to brainwashed conformist was unsettling yet captivating as an observer. By the time the film faded to black, I had to snap myself back into reality. 

Great films take you on a brief journey, all your troubles and concerns are left at the ticket booth. Kubrick's films have taught me about this powerful force in filmmaking. His work is a diverse collection of cinematic majesty; a vast universe of characters, places, events, ideas and emotions. From The Killing to Eyes Wide Shut and all points in between, Kubrick has taken the viewer on a journey beyond the imagination. He and so many other filmmakers through out the history of cinema have opened our eyes to the magic and filled our souls with wonder. 

My sixteen year love affair with cinema has provided invaluable experiences and lifelong memories as well as, on a few occasions, the inspiration to better myself. I reflect on the years I've spent watching movies and with a smile on my face and a tear in my eye, I declare that I look forward to the moments I have yet to discover up there on that big, beautifully illuminated, screen.