Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964)

PG   |    |  Comedy


Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964) Poster

An insane general triggers a path to nuclear holocaust that a War Room full of politicians and generals frantically tries to stop.

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  • Peter Sellers in Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964)
  • Peter Bull in Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964)
  • Stanley Kubrick and Peter Sellers in Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964)
  • Peter Sellers in Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964)
  • Tracy Reed in Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964)
  • Peter Sellers in Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964)

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Reviews & Commentary

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17 May 2017 | francozeff
10
| Russians In The War Room
Spectacular and chilling to watch Dr. Strangelove in May 16, 2017. I'm not going to talk about prophecy not even coincidence. Art has a way to warn, express or simply entertain in a way that its relevance will always be renewed. That opening with George C Scott's secretary, in her underwear, answering the phone for her boss in the most professional tone imaginable, is a masterful way to introduce us to the normal absurdity we're about to embark on. Terry Southern's extraordinary script (sharing credit with Peter George and Stanley Kubrick himself) is a masterpiece of intention and execution. The film doesn't have a moment of emptiness nor a single cheap shot. Everything works with the irrational logic of tradition and set standards. How can something so serious and ultimately terrifying can be so funny. I think that's the definition of film art. I don't want to sound pompous but that's exactly how I feel. I've seen a 1966 movie by Stanley Kubrick in 2017 that's better, more relevant, ingenious and even revolutionary than anything we've seen in a long, long time. Peter Sellers, fantastic three times over (and he was also going to play the Slim Pickens part) George C Scott in one of the greatest comic performances ever put on film and Sterling Hayden in a frighteningly credible show of abuse of power, complete the pleasures of this remarkable film.

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Did You Know?

Trivia

Stanley Kubrick's last black-and-white film.


Quotes

Narrator: For more than a year, ominous rumors had been privately circulating among high-level Western leaders that the Soviet Union had been at work on what was darkly hinted to be the ultimate weapon: a doomsday device. Intelligence sources traced the site ...


Goofs

When Gen. Ripper and Capt. Mandrake are using the belt-fed machine gun, in one shot Mandrake is holding a chair over his head for protection, but when it cuts and the camera is behind them and Ripper crawls away from the window, Mandrake isn't holding the chair, and the closest chair is 10 feet away from him.


Crazy Credits

The screenplay title is incorrectly spelled. It reads: 'Base' on the book "Red Alert" by Peter George. This is pointed out on the DVD supplement about the making of the film.


Alternate Versions

Three different screen aspect ratios have been used for video releases. The initial video releases up until the last VHS used a pan & scan transfer. Starting with the Criterion Collection laserdisc, as well as the later Columbia laserdisc, the film was presented "open matte" which meant that as much of the frame was captured as possible. Since many scenes were shot with mattes in-camera, the aspect ratio varied between 1.33:1 to roughly 1.66:1. This same version was used for the original and later Special Edition. In 2004, Columbia completed a new restoration of the film using an original fine-grain positive. This was utilized for a high definition transfer used for the 2-disc 40th Anniversary Edition DVD set. For the first time, this edition used 16x9 enhancement and presented the entire film at its theatrical exhibition aspect ratio of 1.66:1. While this obscures image previously seen on the variable ratio transfers, this preserves the intended "matted" wide-screen composition - very important for shots like Major Kong riding the bomb to the ground. In the variable ratio transfers, the rigging and projection screen edges are visible.


Soundtracks

Try a Little Tenderness
(1932) (uncredited)
Music by
Harry M. Woods, Reginald Connelly, and Jimmy Campbell
Arranged by Laurie Johnson
Performed by Studio Orchestra during the opening credits

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