HavÂing by now seen StanÂley KubrickÂ’s Dr. Strangelove or: How I Learned to Stop WorÂryÂing and Love the Bomb (1964) more times than I can rememÂber, it surÂprisÂes me to meet someÂone who’s nevÂer seen it at all. When I do, my first impulse is always to sugÂgest a screenÂing right then and there. This would seem to put me in comÂpaÂny with OlivÂer Stone, who in recent years has been docÂuÂmentÂed engagÂing in at least one instance of high-proÂfile Strangelove evanÂgeÂlism. As for the new inductee into the Strangelove viewÂerÂship, he went more than 60 years withÂout havÂing seen the film, but for the last couÂple of decades had the credÂiÂble excuse of busyÂness: it isn’t just a part-time gig, after all, being the presÂiÂdent of RusÂsia.
Stone seized the opporÂtuÂniÂty to watch Dr. Strangelove with Vladimir Putin in the course of filmÂing The Putin InterÂviews, a four-part docÂuÂmenÂtary series broadÂcast on ShowÂtime in 2017. This wasÂn’t the first time Stone had made a subÂject of his own interÂacÂtions with a head of state whom many AmerÂiÂcans conÂsidÂer malevÂoÂlent: in 2008’s South of the BorÂder, for examÂple, he attemptÂed a humanÂizÂing cinÂeÂmatÂic porÂtrait of VenezueÂlan presÂiÂdent Hugo Chávez. At ShowÂtime’s Youtube chanÂnel, you can watch a variÂety of clips from The Putin InterÂviews, includÂing Putin givÂing Stone a tour of his offices, Putin’s reacÂtion to the elecÂtion of DonÂald Trump, and Putin checkÂing in with Stone before skatÂing out onto the ice for a game of hockÂey.
The viewÂing of Dr. Strangelove comes at the series’ very end, which is preÂsumÂably an effort on Stone’s part to save the “best” for last — and as Cold War AmerÂiÂcan cinÂeÂma goes, one could hardÂly hope for a betÂter selecÂtion. Based on Peter George’s Red Alert, a straightÂforÂward thriller novÂel about AmerÂiÂcan and SoviÂet proÂtoÂcols of nuclear-defense manÂageÂment gone disÂasÂtrousÂly wrong, the film only took shape when Kubrick realÂized it had to be a comÂeÂdy. As he latÂer recalled, “I found that in tryÂing to put meat on the bones and to imagÂine the scenes fulÂly, one had to keep leavÂing out of it things which were either absurd or paraÂdoxÂiÂcal, in order to keep it from being funÂny; and these things seemed to be close to the heart of the scenes in quesÂtion.”
As Joseph Heller realÂized while writÂing Catch-22, cerÂtain ridicuÂlous truths about war simÂply can’t be porÂtrayed non-comedÂicalÂly. As realÂized through the painstakÂingÂly exact filmÂmakÂing of Kubrick and his colÂlabÂoÂraÂtors, Dr. Strangelove is the blackÂest of black comeÂdies. “There are cerÂtain things in this film that indeed make us think,” Putin says to Stone after the closÂing monÂtage of mushÂroom clouds. He even credÂits Kubrick with techÂniÂcal foreÂsight: “ModÂern weapon sysÂtems have become more sophisÂtiÂcatÂed, more comÂplex. But this idea of a retalÂiaÂtoÂry weapon and the inabilÂiÂty to conÂtrol such weapon sysÂtems still hold true today.” Not much has changed since the days of Dr. Strangelove, he admits, and now that he’s underÂgone his own bout of geopoÂlitÂiÂcal brazenÂness, let’s hope that he rememÂbers how the movie ends.
RelatÂed conÂtent:
Putin’s War on Ukraine Explained in 8 MinÂutes
Two Scenes from StanÂley Kubrick’s Dr. Strangelove, RecreÂatÂed in Lego
Based in Seoul, ColÂin MarÂshall writes and broadÂcasts on cities, lanÂguage, and culÂture. His projects include the SubÂstack newsletÂter Books on Cities, the book The StateÂless City: a Walk through 21st-CenÂtuÂry Los AngeÂles and the video series The City in CinÂeÂma. FolÂlow him on TwitÂter at @colinmarshall or on FaceÂbook.






