A mentally unstable veteran works as a nighttime taxi driver in New York City, where the perceived decadence and sleaze fuels his urge for violent action by attempting to liberate a presidential campaign worker and an underage prostitute.
Robert De Niro,
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 ...Written by
The Air Police Airmen shown are wearing their armbands on the right arm, these should be worn on the left. See more »
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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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. See more »
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. See more »
What makes this film so powerful is the message that it made at the time of its release. This film came out at a height of paranoia of the nuclear age and the Cold War, right around the time of the Cuban Missile Crisis. This film depicts a horrible, tragic incident in which a breach in the government and a few diplomatic mistakes result in nuclear holocaust. So, why didn't this film inspire panic? Because of the brilliant way in which Kubrick presents it... as a satire. The scariest thing about this film in retrospect is not how it depicts the impending doom of the Cold War, but how it makes you laugh at it. By presenting it with humor, it conveys just how much of a farce the nuclear arms race was in real life. And I don't think that any other film has captured the absurdity of war nearly as well as this one has. And I am not likely to believe that one ever will. In my opinion, Kubrick has never made a better film since. And kudos to George C. Scott for his astounding performance, as well as Peter Sellers for the most versatile acting I've seen from an actor in one film, and to Sterling Hayden, for performing the most serious, yet the most hilarious role in film with perfect accuracy. Beware of fluoridation!
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