Classic Review: Dr. Strangelove Or: How I Learned To Stop Worrying And Love The Bomb

By contributor Patrick Zabriskie

Stars: ★★★1/2

Summary:  Stanley Kubrick brilliantly uses provocative social-satire to show the world the Cold War’s insanity.

Review: I enjoyed watching ‘Dr. Strangelove’ a lot, and had I been around to appreciate some of the attitudes and paranoia of the Cold War, I probably would have enjoyed it even more.  What makes this film so entertaining is that it shows the absolute worst-case scenario, that most dreaded fear for mankind-Nuclear Holocaust — but it does so in such a wonderfully humorous way.

And so we can’t help but laugh.  We laugh at the comically insane general who orders U.S. B-52’s to bomb the Soviets and purposely start a war.  We laugh at the crazily patriotic captain of one of the planes, with his cowboy hat and goofy southern accent, who vows to do his patriotic duty come hell or high water.  We laugh as the President of the United States and the Soviet Premier, who are evidently VERY good friends, argue about what to do, and we laugh at the bumbling politicians in Washington who scramble to call the bombing off, lest they set off a Soviet super-weapon.  We laugh because the situation is so absurd.  It’s so goofy and ridiculous and hilarious throughout.

But then the ending comes, and we see a montage of nuclear explosions (for the Russian super-weapon has gone off) that seems oddly out-of-place with the rest of the film.  All of the sudden there’s a sinking feeling in our stomach, and the last feeling of this film is that of sorrow.

Why such a sad ending?  It’s because Kubrick is reminding us of something: While incredibly funny, the seemingly absurd situation in ‘Dr. Strangelove’ is not so far from possibility.  Sure, it seemed ridiculous in the film, but the threat of sudden, unexpected war, people not knowing what to do or how to stop it, and total annihilation is actually a reality.  The film’s insanity parallels that of the Cold War and really of all war.  Escalation, growing militaristic tension, and the constant hatred of the “other” can only lead to tragedy.  Had the United States and the Soviet Union persisted in this, we likely could all be dead now, much like the ending of the film.  It was only through reconciliation and reaching out on both sides that allowed for the Cold War to end, and even now there is still tension with other countries due to it.  Let’s hope we never run into an ending like ‘Dr. Strangelove’.

This film is one of Kubrick’s many cinematic masterpieces.  His strong sense of storytelling shines through brilliantly here, and his message is as powerful as any he has given.  Few people could have mixed something so funny with something so meaningful, and few movies are stronger for it.

Classic Review: Return of the Jedi (Episode VI)

Stars:  **** out of Four

Summary:  A thrilling, angsty finale for a classic trilogy, with the best effects and the best music, to boot.

This is a good poster, for a multitude of reasons...

This is a good poster, for a multitude of reasons...

Review:  Starting with the gleeful innocence and spectacle of ‘Star Wars’, going to the troubling middle chapter of ‘The Empire Strikes Back’, and now into the dark, unexpected finale of ‘Return of the Jedi’, the Original ‘Star Wars’ Trilogy cemented the legacy of George Lucas in modern film.  The blockbuster and the summer tentpole were now the economic foundations of the film industry.

Before ‘Return of the Jedi’ was released, there were high expectations as to how Lucas could possibly wrap up the Trilogy.  After it was released, though it was still highly regarded and was a box office smash, there was some disappointment in the content, with some believing that the spirit of the mature middle chapter had been compromised and that Lucas was pandering to kids.  The reason being the Ewoks, a race of teddy-bear-like aliens, who manage to overwhelm Imperial forces on their home moon.  I find it ironic that this is considered a betrayal, after all, ‘Star Wars’ was intended to be escapist adventure.  There isn’t anything inconsistent in having something that seems ridiculous, as long as it follows the film’s internal logic, which it does.

The film does, in fact, take the darker nature of ‘The Empire Strikes Back’ and continue it, while keeping the spirit balanced.  The film opens with all of the heroes in deep trouble, and keeps that tone all the way to the end.  The Empire, in essence, continues to strike back.

The good guys head to the planet Tatooine, hoping to free Han Solo from the gangster Jabba the Hutt.  All of them fail, including, most famously, Princess Leia, who finds herself forced to become what is essentially a sex slave for Jabba, clad in only a gold bikini.  As revolting and seemingly unnecessary as this is, it does make the ultimate triumph of the heroes over Jabba seem more glorious.  Ironically, Jabba is strangled to death by Leia, using the very chains he used to control her.  The sexual aspects of this whole sequence are not particularly explicit, and it never leaves PG territory.

The Force, it seemed at the time, was fully elaborated on in this film.  The nature of the Light versus the Dark is now shown before us in the ultimate struggle, as Luke is tempted by the Emperor.  Where the real struggle lies, however, is in Darth Vader.  He is the Anti-Hero.  In my interpretation of the final conflict, Luke allows the Emperor to attack him directly, goading him, which triggers the latent hero in Vader.  This seems to make sense, but don’t take it as the definitive explanation.

Also of note is Luke’s dark wardrobe.  The implication seems to be that, although he is now a Jedi Knight, due to the revelation of his father’s identity he has unleashed a dark part of himself.  Aesthetically, it makes Luke appear more mature than the previous films.  Not only is he a Jedi Knight, he is a full-fledged hero, no longer in Han Solo’s shadow.

Dualism is the primary philosophy behind the Force.  Here, though, the Dark Side seems questioned; it is not as strong as Light, it merely thinks it is.  The Emperor claims the whole final battle, allowing the Rebellion to know the way to knock out the new Darth Star, is part of his plan.  This seems to be a defensive reaction to his own failure.  So what is Lucas saying here?  Is the Dark merely under the impression that it is stronger, or is it undone only by human error?  We are never told.

The artistic merits of the film seem the strongest of the Trilogy.  The music is in top form, with fully developed cues, and a new theme for the Emperor to distinguish him from Darth Vader.  The visual effects take us places we’ve never been before.  The battle around and inside the Death Star is no longer depicted with mere trenches, but with super-massive inner workings.  The lightsabers are crisp, and the resonant sound effects make Luke’s lightsaber a reflection of his own maturity.  Ewoks run at the feet of convincingly composited machines, and the sail barges on Tatooine are natural.

Performance wise, Mark Hamill comes out of the gate with his strongest portrayal of Luke.  Now that young Skywalker is a complete hero, it gives the actor playing him a chance to shine.  Ian McDiarmid, who plays the Emperor, was only in his 30s at the time, but you wouldn’t know it.

A rollicking good time with an angsty soul, this is my personal favorite of the Trilogy and the one that is the most unfairly derided, in my view.