Strangelove, trailerDr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, more commonly known simply as Dr. Strangelove, is a 1964 film that satirizes the fears of a nuclear conflict between the and the. The film was directed, produced, and co-written by, stars,. Production took place in the United Kingdom. The film is loosely based on 's novel (1958).The story concerns an unhinged general who orders a on the Soviet Union.

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It follows the, his advisors, the, and a (RAF) officer as they try to recall the bombers to prevent a. It separately follows the crew of one bomber as they try to deliver their payload.In 1989, the United States included Dr. Strangelove in the first group of films selected for preservation in the. It was listed as number three on list. Ripper tells Mandrake that he discovered the Communist plot to pollute all Americans' 'precious bodily fluids' during 'the physical act of love.'

General Ripper orders his, Lionel Mandrake of the UK, to put the base on alert. Ripper also issues 'Wing Attack Plan R' to the patrolling aircraft, one of which is commanded by Major T. All of the aircraft commence an attack flight on the and set their radios to allow communications only through their, which was designed to accept only communications preceded by a secret three-letter code known only to General Ripper. Mandrake discovers that no war order has been issued by the Pentagon and he tries to stop Ripper, who locks them both in his office. Ripper tells Mandrake that he believes the Soviets have been using of the American water supplies to pollute the 'precious bodily fluids' of Americans. Mandrake realizes that Ripper has gone insane.In the at the Pentagon, General Buck Turgidson briefs President Merkin Muffley and other officers about how Plan R enables a senior officer to launch a strike against the Soviets if on the United States. Turgidson reports that his men are trying every possible three-letter CRM code to issue the stand-down order, but that could take over two days and the planes are due to reach their targets in a couple of hours.

Muffley orders the to storm the base and arrest General Ripper. Turgidson then attempts to convince Muffley to let the attack continue, but Muffley refuses to be party to a nuclear. Instead, he brings Soviet ambassador Alexei de Sadeski into the War Room to telephone Dimitri Kissov on the '. Muffley warns the Premier of the impending attack and offers to reveal the positions of the and targets so that the Soviets can protect themselves.After a heated discussion in Russian with the Premier, the ambassador informs President Muffley that the Soviet Union has created a, which consists of many buried connected to a computer network set to detonate them automatically should any nuclear attack strike the country. Within two months after detonation, the cobalt-thorium G would encircle the planet in a radioactive 'doomsday shroud', wiping out all human and animal life, rendering the surface of the Earth uninhabitable for about 93 years.

The device cannot be dismantled or 'untriggered', as it is programmed to explode if any such attempt is made. When the President's wheelchair-bound scientific advisor, the former Dr. Strangelove, points out that such a doomsday machine would only be an effective deterrent if everyone knew about it, de Sadeski replies that the Soviet Premier had planned to reveal its existence to the world the following week.Meanwhile, troops arrive at Burpelson, still sealed by Ripper's order, to take over the base after a heated firefight with Air Force security policemen. General Ripper then shoots and kills himself, while Mandrake identifies Ripper's CRM code from his desk blotter ('OPE,' a variant of both Peace on Earth and Purity of Essence) and relays this code to the Pentagon. Using the recall code, SAC successfully recalls all of the bombers but one. No one in the War Room knows that a Soviet has damaged the fuel tanks of that plane and destroyed its radio equipment, making it impossible to recall this particular plane even with the correct recall code.

Bomber commander Major T. Kong riding the bomb down.Muffley discloses the plane's target to help the Soviets find it, but its commanding officer, Major Kong, with his fuel dwindling, has selected a nearer target instead. As the plane approaches the new target, the crew is unable to open the damaged bomb bay doors. Kong enters the and repairs the broken electrical wiring, whereupon the doors open and the is dropped.

With Kong straddling it, the bomb falls and detonates over a Soviet site.Back in the War Room, Dr. Strangelove recommends that the President gather several hundred thousand people to live in deep underground mines where the radiation will not penetrate. He suggests a 10:1 female-to-male ratio for a breeding program to repopulate the Earth once the radiation has subsided. Turgidson, worried that the Soviets will do the same, warns about a 'mineshaft gap'.

Strangelove declares he has a plan, but then rises from his wheelchair and announces that he can walk again. Soon, the Doomsday Machine kicks into operation, and the film ends with a montage of many nuclear explosions, accompanied by 's version of the popular World War II song '.Cast. as:. Lionel Mandrake, a British. President Merkin Muffley, the. Dr.

Strangelove, the wheelchair-using expert and former. as General Buck Turgidson, the. as Brigadier General Jack D.

Ripper, a commander. as Colonel Bat Guano, the Army officer who finds Mandrake and the dead Ripper. as Major T.

'King' Kong, the bomber's commander and pilot. as Soviet Ambassador Alexei de Sadeski. as Lieutenant Lothar Zogg, the B-52's. as Miss Scott, General Turgidson's secretary and, the film's only female character.

Reed also appears as 'Miss Foreign Affairs,' the in the June 1962 issue of magazine that Major Kong (Slim Pickens) is perusing just before he is notified of the radio message ordering 'Wing Attack – Plan R' by Lt. 'Goldie' Goldberg (Paul Tamarin). as Capt. Ace Owens, the co-pilot of the B-52Peter Sellers's multiple roles agreed to finance the film if played at least four major roles.

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The condition stemmed from the studio's opinion that much of the success of Kubrick's previous film (1962) was based on Sellers's performance in which his single character assumes a number of identities. Sellers had also played three roles in (1959). Kubrick accepted the demand, later explaining that 'such crass and grotesque stipulations are the of the motion-picture business'.

Proposed the strategy ofThe character is an amalgamation of strategist, mathematician and principal, rocket scientist (a central figure in Nazi Germany's rocket development program recruited to the US after the war), and, the 'father of the '. There is a common misconception that the character was based on, but Kubrick and Sellers denied this; Sellers said, 'Strangelove was never modeled after Kissinger—that's a popular misconception.

It was always Wernher von Braun.' Furthermore, Henry Kissinger points out in his memoirs that at the time of the writing of Dr. Strangelove, he was an unknown academic.The wheelchair-using Strangelove furthers a Kubrick trope of the menacing, seated antagonist, first depicted in through the character 'Dr. Strangelove's accent was influenced by that of Austrian-American photographer, who worked for Kubrick as a special photographic effects consultant. Strangelove's appearance echoes the mad scientist archetype as seen in the character in 's film (1927). Sellers's Strangelove takes from Rotwang the single black gloved hand (which, in Rotwang's case is mechanical, because of a lab accident), the wild hair and, most importantly, his ability to avoid being controlled by political power. According to Alexander Walker, Sellers improvised Dr.

Strangelove's lapse into the, borrowing one of Kubrick's black leather gloves for the uncontrollable hand that makes the gesture. Strangelove apparently suffers from. Kubrick wore the gloves on the set to avoid being burned when handling hot lights, and Sellers, recognizing the potential connection to Lang's work, found them to be menacing. Slim Pickens as Major T. 'King' Kong. Wing Attack Plan R, fresh from the cockpit's safe, allows a nuclear strike without the President's authorization., an established and veteran of many Western films, was eventually chosen to replace Sellers as Major Kong after Sellers' injury.

Terry Southern's biographer, Lee Hill, said the part was originally written with in mind, and that Wayne was offered the role after Sellers was injured, but he immediately turned it down.of the western television series was approached to play the part, but according to, Blocker's agent rejected the script as being 'too '. Kubrick then recruited Pickens, whom he knew from his brief involvement in a western film project that was eventually filmed as.His fellow actor recalls, 'He was Major Kong on and off the set — he didn't change a thing — his temperament, his language, his behavior.'

Pickens was not told that the movie was a black comedy, and he was only given the script for scenes he was in, to get him to play it 'straight'.Kubrick's biographer John Baxter explained, in the documentary Inside the Making of Dr. Strangelove:As it turns out, Slim Pickens had never left the United States. He had to hurry and get his first passport. He arrived on the set, and somebody said, 'Gosh, he's arrived in costume!' , not realizing that that's how he always dressed. With the cowboy hat and the fringed jacket and the cowboy boots — and that he wasn't putting on the character — that's the way he talked.Pickens, who had previously played only supporting and character roles, said that his appearance as Maj. Kong greatly improved his career.

He later commented, 'After Dr. Strangelove the roles, the dressing rooms, and the checks all started getting bigger.' Scott as General Buck Turgidson. General Buck Turgidson imitating a low-flying B-52 'frying chickens in a barnyard'Kubrick tricked Scott into playing the role of Gen. Turgidson far more ridiculously than Scott was comfortable doing.

Kubrick talked Scott into doing over-the-top 'practice' takes, which Kubrick told Scott would never be used, as a way to warm up for the 'real' takes. Kubrick used these takes in the final film, causing Scott to swear never to work with Kubrick again.During the filming, Kubrick and Scott had different opinions regarding certain scenes, but Kubrick got Scott to conform largely by repeatedly beating him at chess, which they played frequently on the set. Scott, a skilled player himself, later said that while he and Kubrick may not have always seen eye to eye, he respected Kubrick immensely for his skill at chess. Production Novel and screenplay started with nothing but a vague idea to make a thriller about a nuclear accident that built on the widespread fear for survival.

While doing research, Kubrick gradually became aware of the subtle and paradoxical ' between nuclear powers. At Kubrick's request, (the head of the ) recommended the thriller novel. Kubrick was impressed with the book, which had also been praised by and future winner in an article written for the and reprinted in, and immediately bought the film rights.

In 2006, Schelling wrote that conversations between Kubrick, Schelling, and George in late 1960 about a treatment of Red Alert updated with intercontinental missiles eventually led to the making of the film.In collaboration with George, Kubrick started writing a screenplay based on the book. While writing the screenplay, they benefited from some brief consultations with Schelling and, later,. In following the tone of the book, Kubrick originally intended to film the story as a serious drama. However, as he later explained during interviews, he began to see comedy inherent in the idea of as he wrote the first draft. Kubrick said:My idea of doing it as a nightmare comedy came in the early weeks of working on the screenplay. I found that in trying to put meat on the bones and to imagine the scenes fully, one had to keep leaving out of it things which were either absurd or paradoxical, in order to keep it from being funny; and these things seemed to be close to the heart of the scenes in question.Among the titles that Kubrick considered for the film were Dr. Doomsday or: How to Start World War III Without Even Trying, Dr.

Strangelove's Secret Uses of Uranus, and Wonderful Bomb. After deciding to make the film a black comedy, Kubrick brought in as a co-writer in late 1962. The choice was influenced by reading Southern's comic novel, which Kubrick had received as a gift from Peter Sellers, and which itself became a Sellers film in 1969.

Southern made important contributions to the film, but his role led to a rift between Kubrick and Peter George; after magazine published a photo-essay on Southern in August 1964 which implied that Southern had been the script's principal author—a misperception neither Kubrick nor Southern did much to dispel—Peter George wrote an indignant letter to the magazine, published in its September 1964 issue, in which he pointed out that he had both written the film's source novel and collaborated on various incarnations of the script over a period of ten months, whereas 'Southern was briefly employed. To do some additional rewriting for Kubrick and myself and fittingly received a screenplay credit in third place behind Mr. Kubrick and myself'. Sets and filming Dr. Strangelove was filmed at, near, as Sellers was in the middle of a divorce at the time and unable to leave England. The sets occupied three main: the Pentagon War Room, the B-52 Stratofortress bomber and the last one containing both the motel room and General Ripper's office and outside corridor.

The studio's buildings were also used as the Air Force base exterior. The film's set design was done by, the production designer of several (at the time he had already worked on ). The cinematography was by, and the film was edited by and an uncredited Kubrick.

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The original musical score for the film was composed by and the special effects were by Wally Veevers. The theme of the chorus from the bomb run scene is a modification of. Sellers and Kubrick got on famously during the film's production and shared a love of photography. The cream pie fight was removed from the final cut.It was originally planned for the film to end with a scene that depicted everyone in the war room involved in a.Accounts vary as to why the pie fight was cut.

In a 1969 interview, Kubrick said, 'I decided it was and not consistent with the satiric tone of the rest of the film.' Critic observed that 'the cream pies were flying around so thickly that people lost definition, and you couldn't really say whom you were looking at.'

Nile Southern, son of screenwriter Terry Southern, suggested the fight was intended to be less jovial: 'Since they were laughing, it was unusable, because instead of having that totally black, which would have been amazing, like, this blizzard, which in a sense is metaphorical for all of the missiles that are coming, as well, you just have these guys having a good old time. So, as Kubrick later said, 'it was a disaster of proportions.' ' Effects of the Kennedy assassination on the film A first test screening of the film was scheduled for November 22, 1963, the day of the. The film was just weeks from its scheduled premiere, but because of the assassination, the release was delayed until late January 1964, as it was felt that the public was in no mood for such a film any sooner.During post-production, one line by Slim Pickens, 'a fella could have a pretty good weekend in Dallas with all that stuff,' was dubbed to change 'Dallas' to ',' since Dallas was where Kennedy was killed. The original reference to Dallas survives in the English audio of the French-subtitled version of the film.The assassination also serves as another possible reason that the pie-fight scene was cut. In the scene, after Muffley takes a pie in the face, General Turgidson exclaims: 'Gentlemen! Our gallant young president has been struck down in his prime!'

Editor Anthony Harvey stated that the scene 'would have stayed, except that Columbia Pictures were horrified, and thought it would offend the president's family.' Kubrick and others have said that the scene had already been cut before preview night because it was inconsistent with the rest of the film. Rerelease in 1994 In 1994, the film was rereleased.

While the 1964 release used a 1.85:1 aspect ratio, the new print was in the slightly squarer 1.66:1 (5:3) ratio that Kubrick had originally intended. Themes Satirizing the Cold War Dr. Strangelove takes passing shots at numerous contemporary attitudes, such as the ', but it primarily focuses its satire on the theory of (MAD), in which each side is supposed to be deterred from a nuclear war by the prospect of a universal cataclysmic disaster regardless of who 'won'.

Military strategist and former physicist, in the book (1960), used the theoretical example of a ' to illustrate the limitations of MAD, which was developed by.The concept of such a machine is consistent with MAD doctrine when it is logically pursued to its conclusion. It thus worried Kahn that the military might like the idea of a doomsday machine and build one.

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Kahn, a leading critic of MAD and 's doctrine of upon the slightest provocation by the USSR, considered MAD to be foolish bravado, and urged America to instead plan for, and thus even a limited nuclear war. With this logical reasoning, Kahn became one of the architects of the doctrine, which, while superficially resembling MAD, allowed for responding to a limited nuclear strike with a proportional, or calibrated, return of fire (see ).Kahn educated Kubrick on the concept of the semirealistic doomsday machine, and then Kubrick used the concept for the film. Kahn in his writings and talks would often come across as cold and calculating, for example, with his use of the term ' and in his willingness to estimate how many human lives the United States could lose and still rebuild economically.

Kahn's cold analytical attitude towards millions of deaths is reflected in Turgidson's remark to the president about the outcome of a preemptive nuclear war: 'Mr. President, I'm not saying we wouldn't get our hair mussed. But I do say no more than ten to twenty million killed, tops, uh, depending on the breaks.'

Turgidson has a binder that is labelled 'World Targets in Megadeaths', a term coined in 1953 by Kahn and popularized in his 1960 book On Thermonuclear War.The planning in the film, by Dr. Strangelove, done after the MAD policy has clearly broken down, to keep the human race alive and to regenerate from populations sheltered in, is a parody of those strict adherents of the MAD doctrine who are opposed to the prior creation of on ideological grounds. To such adherents, talk of survival takes the 'Assured Destruction' out of 'Mutual Assured Destruction', hence no preparations should be conducted for fear of 'destabilizing' the MAD doctrine. Moreover, it is also somewhat of a parody of, Herman Kahn, and 's November 1961 popularization of a similar plan to spend billions of dollars on a nationwide network of concrete-lined underground fallout shelters, capable of holding millions of people and to be built before any such nuclear exchange began. These extensive and therefore wildly expensive preparations were the fullest conceivable implementation of 's, month prior, September 1961 advocacy in favor of the comparatively more modest, individual and community, as it appeared in magazine, which was in the context of due to the.

The Kennedy administration would later go on to expand the nascent efforts, including the and to create a network of thousands of well known, black and yellow plaqued, community fallout shelters. This was done, not with a massive construction effort but by the relatively cheap re-purposing of existing buildings and stocking them with etc. In 1962 the Kennedy administration would found the to organize this, comparatively far more.The fallout-shelter-network proposal, mentioned in the film, with its inherently high characteristics, has similarities and contrasts to that of the very real and robust network. Switzerland has an overcapacity of nuclear fallout shelters for the country's population size, and by law, new homes must still be built with a fallout shelter. If the US did that, it would violate the spirit of MAD and according to MAD adherents, allegedly destabilize the situation because the US could launch a and its population would largely survive a retaliatory second strike.

(See )To refute early 1960s novels and Hollywood films like Fail-Safe and Dr. Strangelove, which raised questions about US control over nuclear weapons, the Air Force produced a documentary film, to demonstrate its responsiveness to presidential command and its tight control over nuclear weapons. However, later academic research into declassified documents showed that U.S. Military commanders had been given presidentially-authorized pre-delegation for the use of nuclear weapons during the early Cold War, showing that that aspect of the film's plot was plausible.The characters of Buck Turgidson and Jack Ripper both deride the real-life Gen. Sexual themes In the months following the film's release director Stanley Kubrick received a fan letter from Legrace G. Benson of the Department of History of Art at interpreting the film as being sexually-layered.

The director wrote back to Benson and confirmed the interpretation, 'Seriously, you are the first one who seems to have noticed the sexual framework from intromission (the planes going in) to the last spasm (Kong's ride down and detonation at target).' Sexual metaphors often popped up when the nuclear analysts that Kubrick consulted were discussing strategy, such as when compared his not attacking cities/withhold plan following belligerent escalation to in an internally circulated at the (spoofed in the film as the 'BLAND Corporation'), while he described the plan of as 'going all the way'. That led RAND scholar Herman Kahn, whom Kubrick consulted, to quip to an assembled group of 'massive retaliation' SAC officers, 'Gentlemen, you do not have a.

You have a '. Release Box office The film was a popular success, earning 4,420,000 in rentals in North America during its initial theatrical release. Reception Critical response Dr. Strangelove is Kubrick's highest rated film on, holding a 98% approval rating based on 83 reviews, with an average rating of 9.14/10.

The site's critical consensus reads, 'Stanley Kubrick's brilliant Cold War satire remains as funny and razor-sharp today as it was in 1964.' The film also holds a score of 96 out of 100 on, based on 11 reviews, indicating 'universal acclaim.' The film is ranked number 7 in the All-Time High Scores chart of Metacritic's Video/DVD section.

It was selected for preservation in the United States.Dr. Strangelove is on 's list of, and he described it as 'arguably the best political satire of the century'.

One of the most celebrated of all film comedies, it is the only one that made the top 10 in the 2002 Sight & Sound directors' poll of best films, and John Patterson of The Guardian wrote, 'There had been nothing in comedy like Dr Strangelove ever before. All the gods before whom the America of the stolid, paranoid 50s had genuflected – the Bomb, the Pentagon, the National Security State, the President himself, Texan masculinity and the alleged Commie menace of water-fluoridation – went into the wood-chipper and never got the same respect ever again.'

It is also listed as number 26 on, and in 2010 it was listed by magazine as one of the 100 best films since the publication's inception in 1923.