Tales of a Strange Love in Dr. Strangelove
Dr. Strangelove , filmmaker Stanley Kubrick's nuclear war satire, portrays America's leaders as fumbling idiots and forces American viewers to question the ability of their government.
Dr. Strangelove's cast explores the quirks and dysfunctional personality traits that a layperson would find far-fetched in a person of power. The characters are diverse yet unified in their unfailing stupidity and naivete. The film's hysterical dialogue sheds a darkly comic light at the most ironic of times-war. This film came out at a height of paranoia of the nuclear age and the Cold War, just after the Cuban Missile Crisis. It depicts a horrible, tragic incident in which a breach in the government and diplomatic mistakes result in nuclear holocaust.
General Ripper, a psychotic anti-Communist, exploits a loophole in the chain of command and orders nuclear warheads to be dropped on Russia. Ripper, in a moment of humor, explains his motivation-most likely gleaned from bits of "red" propaganda he has internalized: "I can no longer sit back and allow Communist infiltration, Communist indoctrination, Communist subversion, and the international Communist conspiracy to sap and impurify all of our precious bodily fluids." He elaborates further citing the Communist fluoridation of U.S. drinking water as the most dangerous of Soviet plots to infiltrate and destroy the American people. With all the sense of a Joe McCarthy, Ripper is prepared to begin and accept the consequences of a nuclear war.
The impending disaster is soon brought to the attention of America's President Muffle and his team of able advisers, who quickly prove themselves worthless wastes of space. The President scr...
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...ar. By presenting war with humor, the film conveys just how much of a farce the nuclear arms race really was. The extreme views of the characters aren't fiction; Baby Boomers, for example, can recall debates about "acceptable" civilian losses in the event of a bomb being dropped. Kubrick satirizes this time period wonderfully, capturing the insanity of a world gone mad. The key question of the film really is: who is running the mad house? In a world where world leaders scramble and bicker childishly and take advice from Nazi Germans, a world where bombs can be dropped at the will of a psychotic general, one seems better off to recline and laugh at the pure insanity of it all.
Works Cited
Dr Strangelove or : How I Learned to Stop Worrying and Love the Bomb. Dir. Stanley Kubrick. Perf. Peter Sellers and George C. Scott. London: Columbia Pictures, 1964.
Stanley Kubrick’s sexual parody, Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, illustrates an unfathomed nuclear catastrophe. Released in the midst of the Cold War, this 1964 film satirizes the heightened tensions between America and Russia. Many sexual insinuations are implemented to ridicule the serious issue of a global nuclear holocaust, in an effort to countervail the terror that plagued America at that time. Organizing principles, such as Kubrick’s blunt political attitudes about the absurdity of war and the satirical genre, are echoed by the film style of his anti-war black comedy, Dr. Strangelove.
In the third decade of the Cold War, less than two years after the United States population had been scared half-way to death by the Cuban Missile Crisis, Dr. Strangelove invaded the nation's movie theatres and showed the country the end of the world. Touted by critics then and now as the film of the decade, Dr. Strangelove savagely mocked the President, the entire military defense establishment, and the rhetoric of the Cold War. To a nation that was living through the stress of the nuclear arms race and had faced the real prospect of nuclear war, the satiric treatment of the nation's leaders was an orgasmic release from deep fears and tensions. Its detractors argued that the film was juvenile, offensive, and inaccurate. Viewed, however, in its context of the Cold War and nuclear proliferation, Dr....
Even though Stanley Kubrick’s Dr. Strangelove, or: How I Learned to Stop Worrying and Love the Bomb screened in the midst of the sobering Cold War, critics were keen on praising the film for its mastery of humor applied to such a sensitive matter. The film is exceedingly loaded with metaphors, innuendos, and allusions that nothing can be left undissected or taken for face value; the resulting effect is understood to be part of Kubrick’s multifarious theme. Kubrick has stated that what began as a “the basis for a serious film about accidental war ” eventually birthed an absurd and farcical classic comedy. The director fuses together irony, satire, and black humor to create a waggish piece but most of all the situation of the times and its gravity is the essence of what the audience finds so hilarious . Using caricatures rather than characters, exaggerated script, and sexual undertones, Kubrick manifests to the audience their own predicament and just how ridiculous it is to even consider brinksmanship as a means to preserve the American lifestyle.
The United States was not capable of winning the War because they realized too late that the real war in Vietnam was not a military one but a political one. Beginning with Eisenhower, They were fully aware that the only way South Vietnam would win is with the support of the United States troops. Kennedy restricted the U.
During the book, the author use words or phrases as a form of mock seriousness that gives way to the absurd. Especially after a person died, there will have “So it goes” (Kurt Vonnegut, 1969). The author wants to use this kind of specific words to emphasize that the war is really oppressive and cruel. The author through the Billy’s perspective to explain his own feelings, and condemn the Fascism’s brutal, and laugh at human start the war stupid because the war causes a lot of unfair, make many people died, and anyone involved the war have bad life. The only thing that the war can give us is unhappiness, and cannot bring anything good. Conversely, the peaceful environment not only can make people fell security, but also promote the social
Robert S. McNamara, appointed by John F. Kennedy to the position of U.S. Secretary of Defense in 1961, said about the Vietnam War, “It is important to recognize it’s a South Vietnamese war. It will be won or lost depending upon what they do. We can advise and help, but they are responsible for the final results, and it remains to be seen how they will continue to conduct that war,'; (McNamara 72). Despite these guidelines for assisting in the war, the U.S. would end up doing much more than just advising. The Vietnam War was supposed to be a demonstration of how willing the U.S. was to battle communism, but ended up a personal vendetta against the North Vietnamese as the U.S. escalated its commitment in Vietnam infinitely greater than it had ever intended. After World War II, France returned to Vietnam to reclaim their Indochinese colonies after the Ho Chi Minh had declared Vietnamese independence in 1945 (Goldstein 3). The U.S. had just ended a war started by German conquest in Europe, and now was being asked to help France conquer the colonies it lost control of during the war. The Vietnam Nationalists, the same ones who had supported the U.S. in the war against the Japanese not more than a year previous, sought only to peacefully gain their independence from France (Chant 25). In January of 1950, the Viet Minh gained recognition by the governments of the USSR and China, who supplied weapons and places to train (Chant 25). Because the two Communist superpowers recognized the Viet Minh, the Vietnam war became to the U.S. a struggle between capitalism and communism, especially since the Viet Minh were openly communist themselves. By aiding the French, the U.S. thought they were helping their free-trade ally France fight communism, the Communist Party was very strong in France (Goldstein 3). The U.S. feared that Vietnam would fall to communism, and set-off the “domino effect'; for other communist satellites in Indochina (McNamara 76). With weapons and training from Russia and China, the Viet Minh forced France to request help from the U.S. Fearing the spread of communism under Ho Chi Minh’s regime, the U.S. was glad to offer France assistance, but even after the French humiliation at Dien Bien Phu in 1954, the U.S. continued their involvement in Vietnam (Encarta “Vietnam War';). The Vietnam situation became a...
Overall, in Stephen King’s essay, “Why We Crave Horror Movies”, his suggestion that we view horror movies to “reestablish our feelings of essential normality” (562) and there is a “potential lyncher in almost all of us” (562) has brought forth many aspects that I have never really thought about. Why do we have so much excitement when it comes to horror films? Everyone has their own opinion, which will never end with one definite answer. Stephen King thinks there’s and evil in all of us, but I don’t think so. The evil only comes out if you make it, we do not need horror films for psychic
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his dog; an old man is almost useless. He knows how they will discard them he's no
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