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

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

Director:

Stanley Kubrick

Writers:

Stanley Kubrick (screenplay), Terry Southern (screenplay)

Stars:

Peter Sellers, George C. Scott, Sterling Hayden

Top Rated Movies #69 | Nominated for 4 Oscars. Another 13 wins & 7 nominations.

Cast

Cast overview, first billed only:
Peter Sellers	...	Group Capt. Lionel Mandrake / President Merkin Muffley / Dr. Strangelove
George C. Scott	...	Gen. 'Buck' Turgidson
Sterling Hayden	...	Brig. Gen. Jack D. Ripper
Keenan Wynn	...	Col. 'Bat' Guano
Slim Pickens	...	Maj. 'King' Kong
Peter Bull	...	Russian Ambassador Alexi de Sadesky
James Earl Jones	...	Lt. Lothar Zogg
Tracy Reed	...	Miss Scott
Jack Creley	...	Mr. Staines
Frank Berry	...	Lt. H.R. Dietrich
Robert O'Neil	...	Adm. Randolph
Glenn Beck	...	Lt. Kivel (as Glen Beck)
Roy Stephens	...	Frank
Shane Rimmer	...	Capt. 'Ace' Owens
Hal Galili	...	Burpelson AFB Defense Team Member

Storyline

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 ...

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Plot Keywords:

war room | u.s. president | bodily fluids | nuclear holocaust | nuclear weapons | 

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Taglines:

The hot-line suspense comedy.

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Genres:

Comedy

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Motion Picture Rating (MPAA)

Rated PG for thematic elements, some violent content, sexual humor and mild language

Details

Country:

UK USA

Language:

English Russian

Release Date:

29 January 1964 (USA)

Also Known As:

A Delicate Balance of Terror

Filming Locations:

Okaloosa County, Florida, USA

Box Office

Budget:

$1,800,000 (estimated)

Opening Weekend USA:

$11,751, 17 July 1994

Gross USA:

$9,440,272

Cumulative Worldwide Gross:

$9,443,876

Company Credits

Production Co:

Columbia Pictures, Hawk Films

Technical Specs

Runtime:

95 min

Sound Mix:

Mono (Westrex Recording System)

Color:

Black and White

Aspect Ratio:

1.66 : 1

Did You Know?

Trivia

Peter Sellers was not keen on multiple takes, one of Stanley Kubrick's trademarks. Kubrick felt that Sellers' performance improved with each successive take, while Sellers couldn't understand why he was being asked to keep doing the same scene over and over.

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Goofs

A missile explodes on the bomber, damaging many of the interior systems and switches. Yet in the exterior shots that follow of the bomber, it appears undamaged.

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Quotes

[first lines]
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 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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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.

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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.

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Connections

Referenced in Stop Making Sense (1984)

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Soundtracks

We'll Meet Again
(1939) (uncredited)
Music and Lyrics by Ross Parker and Hugh Charles
Performed by Vera Lynn and chorus at the end

User Reviews

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.