Dr. Strangelove Or: How I Learned To Stop Worrying & Learned To Love The Bomb
In the heart of the Cold War, after the Cuban missal crisis, fresh from the assassination of President Kennedy, the world seemed to be on the brink of nuclear destruction. It was a tense era, as reflected by a number of the paranoid films that were produced - Fail-Safe, Seven Days In May, On The Beach, to name a few. Knowing the world it was released into makes the attitudes of the "black comedy" Dr. Strangelove Or: How I Learned To Stop Worrying and Learned To Love The Bomb, particularly black. While many Americans had fall-out shelters in their backyards, Stanley Kubrick's film was laughing at the ridiculousness of world annihilation, while wondering who are the hopeless leaders we have entrusted with our nukes and our planet’s future?
Kubrick co-wrote the script with satirist Terry Southern (The Loved One, Easy Rider), kinda sorta based on a novel Red Alert, an actual thriller by Peter George. Dr. Strangelove was the final film of Kubrick’s outstanding black and white period, following his other classics, The Killing, Paths Of Glory, and Lolita, a foursome as relevant and as diverse as any young American director has had. And like Lolita, Dr. Strangelove would be a showcase for the acting range of Peter Sellers. Here he would take on three utterly different roles, to much acclaim.Continue Reading
Guilty pleasures - or in the book world they are often referred to as beach books or popcorn or even junk food - you enjoy eating them or watching them or reading them but they have no nutritional content to them. The late '80s and early '90s were full of serviceable guilty pleasures, usually in the guise of thrillers. The genre hit its critical peak with the overrated Michael Douglas flick Fatal Attraction in '87 (that movie actually got a best picture Oscar nomination and that was back when they had a mere five elite films nominated). Superstar bum-flasher Douglas continued his reign as victim to the ladies lust, hitting his apex in '92 with the sleazy homophobia of Basic Instinct. Of course director Paul Verhoeven had done the same story much more effectively with his Dutch film, The 4th Man, ten years earlier.
Video cassettes and cable helped make the suspense genre a staple of movie watchers' subconscious. You may or may not remember the titles, but the films were popular in some form or another, ingested like a bag of potato chips, enjoyed that evening and forgotten the next day. Blink, Color Of Night, Dream Lover, The Last Seduction, Jennifer Eight, The Final Analysis, Jagged Edge, Suspect, Pacific Heights, blah blah blah, the list of title goes on. But for some reason there is one that I always remember. I guess I enjoyed it more than the others...Malice.Continue Reading