A mentally unstable veteran works as a nighttime taxi driver in New York City, where the perceived decadence and sleaze fuels his urge for violent action by attempting to liberate a presidential campaign worker and an underage prostitute.
Robert De Niro,
Paranoid Brigadier General Jack D. Ripper of Burpelson Air Force Base, believing that fluoridation of the American water supply is a Soviet plot to poison the U.S. populace, is able to deploy through a back door mechanism a nuclear attack on the Soviet Union without the knowledge of his superiors, including the Chair of the Joint Chiefs of Staff, General Buck Turgidson, and President Merkin Muffley. Only Ripper knows the code to recall the B-52 bombers and he has shut down communication in and out of Burpelson as a measure to protect this attack. Ripper's executive officer, RAF Group Captain Lionel Mandrake (on exchange from Britain), who is being held at Burpelson by Ripper, believes he knows the recall codes if he can only get a message to the outside world. Meanwhile at the Pentagon War Room, key persons including Muffley, Turgidson and nuclear scientist and adviser, a former Nazi named Dr. Strangelove, are discussing measures to stop the attack or mitigate its blow-up into an all ...Written by
When Slim Pickens was cast as Maj. Kong, he had never traveled outside the US in his life. Production was delayed for over a month while he applied and got a passport to travel to England to film his scenes, which were the very last ones to be shot. See more »
While checking the contents of his bailout kit, Slim Pickens removes his Colt 1911 pistol, cycles the slide and then pulls the trigger and drops the hammer. To do this without checking to see if the pistol is unloaded is an unforgivable breach of basic rules of safe firearms handling and would never be done by anyone with military training. See more »
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 of the top secret Russian project to the perpetually fog-shrouded wasteland below the Arctic peaks of the Zhokhov Islands. What they were building or why it should be located in such a remote and desolate place no one could say.
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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. See more »
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. See more »
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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