Stranglest of Love

Throughout the film Dr. Stranglelove, there are countless examples of irony, symbolism, and themes. Stanley Kubrick adds layer upon layer of these items in his film. There is not one scene or shot for that matter that seems to be pointless, in a since that there is not a background issue at hand. Issues between the United States and the USSR are ast large in this horrifingly scary and halarious film. Kubrick seems to be a mster of disguise when it comes to placing his ideas into his film and later into our minds. Looking back on the movie and its symbolism, I personaly like the cigar, and its symbolism torwards life. When the cigar is lit, the owner is alive and kicking. But on the other hand when it goes out and there is no flame to energies the tobacco there is no life in the body of the smoker. Look at this stooooooogy! It is rich, thick, and burning, the same can be said about Ripper (the man smoking it). But at the end of the film, slighty before the climax of the film, the cigar is lifeless and the same can be said about Ripper. This man could be related to a cigar in many ways; simple, symbol of power, thick/ thickheaded, and harmful (both in the respect to oneself and others).
A big deal of the film is also taking relatively big ideas such as a world war, and given them a sense of small worth. As the heads of both nations “chat” carelessly about whatever it may be, they are forgetting the bigger picture, the bombs. Kubrick paints a humorous picture with this style of film making. In Stillman’s article he states, “Schemes that merit attention are the establishment of a communications system to enable the leaders of both countries to communicate instantaneously.” It is very true the conversation was… very strange.

Sex. In the film Kubrick show women in the movie with little to give but something pretty to look at on the screen. They are pretty much just a sex symbol in this aspect. Almost funny, if the movie didn’t deal with the world blowing up. A WORLD that is not only man’s but shared with women. Why shouldn’t women too, have a say on what happens. But Kubrick leaves their thoughts at the door, most likely to show that as a world we should pay more attention to Everyone’s views and take on the issue at large. Stillman writes, “Keen-eyed observers have already pointed out that Miss Scott (Tracy Reed), the well-spoken Pentagon secretary under the sunlamp displaying (for the time) ample navel, also pops up as the centerfold in the Playboy magazine being admired by Major Kong in the cockpit.” This just shows that more then one person noticed the lack of women views was apparent.













Kubrick, Stanley, dir. Dr. Strangelove or: How I Learned To Stop Worrying and Love the Bomb. 1964. Columbia Pictures, 2009.
Stillman, Grant, “Two of the MaDdest Scientists.” Film History. 20 (2008): 487- 500.Web. 24 Aug. 2009.