Dr Strangelove & Lolita Adaptation | Dr Strangelove & Lolita Gravity And Intense | Attend Concerned

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That's the disclaimer that runs across the screen before the film begins. Re-watching Dr. Strangelove for what must have been my seventh or eighth time, I was floored by its presence. Why didn't I remember that being there? I'm not sure if it was required by Columbia Pictures or the U.S. government, or whether it was might have even been inserted voluntarily by Kubrick as an opening knock-knock to one gigantic joke. All I know is this: without putting that disclaimer at the beginning of such an incendiary political satire on nuclear warfare, the military-industrial complex, and the nightmare scenario, Dr. Strangelove might have come across as an actual horror film.

The storyline is a riot and the performances are unforgettable. Without question, one of the best movies of all time. On this page, I'll give my own little analysis of Dr. Strangelove and talk about some of the ways this great movie has affected me.

James Mason as ultra-fussy college professor Humbert Humbert, whose life is upended when he sets eyes on Sue Lyon’s blasé blond teen nymphet. LOLITA, 1962, Warner Bros, 152 min. Stanley Kubrick’s hilariously bleak and twisted portrait of sexual obsession (based on Vladimir Nabokov’s infamous novel) stars.

The only film I had the pleasure of seeing in the theaters was the mind bending Inception, the sophisticated, surreal thriller from The Dark Knight director Christopher Nolan. This is what a summer movie should be satisfying, stylish, good acting and jaw-dropping effects without CGI that hits you over the head. That alluring nature of a summer movie is something I didn’t find in other summer fare that consisted for the most part of sequels, formulaic action thrillers and 3-D spectacles.

Kubrick would become known as a film-maker of gravity and intense seriousness, and yet here we have him delving into comedy, albeit comedy as black as coal, much like his previous effort of two years earlier, an adaptation of Nabakov's Lolita. And so we are left with a comedy as only the mind of Kubrick could've given us, wickedly funny, yet unrelentingly bleak; a "message film" concerned deeply with the fate of the world itself, yet also with the foibles of human nature, that manages to remain the complete opposite of preachy or self-righteous.

The original ending was a bit different. What first interrupted Strangelove's elation was General Buck Turgidson George C. Scott once again seeing the Russian ambassador Peter Bull taking secret snapshots of the War Room, whereupon Turgidson attempts to dissuade him by throwing a custard pie from the War Room's buffet in his face. At which point there breaks out the king of all pie fights, halted by the inevitable end of the world.


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