Learning to Love the Bomb Essay

At for the first-year time glance to the illiterate filmgoer this painting faces standardised an early 70s lame attempt to show the ludicrous side of warf ar. I was prepargond from something slightly humorous and mildly entertaining. However, I was shocked to gravel hold that I was riveted to the storyline during the entire movie, absorbing so many emblematically charged fibres and dialogues that I was practically trans settleed while I worked unwrap the meanings and con tennertednesss that Stanley Kubric was slyly relaying to me through the medium of film. Kubrics film, Dr.Strangelove Or How I larn to Love the Bomb, is a black comedy with some very(prenominal)(prenominal) provoke subjects about custody, informality and war. Symbolism abounded in a variety of forms and was so cleverly disguised that it took several moments for the viewer to feel the full strike of Kubrics message. Consider the go arounding scene, set to the background music of very sappy romance mu sic we are introduced to two giant warplanes in the act of refueling during flight. The first impression is that of discord. War-time aircraft and romance music in a scene that lasts what seems likes five full minutes.The director pro considerables the scene long enough for the audience to become suspicious of the underlying versed symbol of two planes mating before he cuts to his next immediately versedly charged scene of a perfect caricature of a US Army officer, with an abundant cigar protruding obscenely from his mouth. As the movie continues, so do the familiar innuendos. By the end of the movie Kubrics message is clear, but it takes time to build us up before we go complete realization of his purpose, which in itself is also elicit.The first compelling character that we are introduced to is the US Army oecumenic and his ever present cigar. The cigar is on the face of it a phallic symbol. It rises when the General is excited and droops lamely when the disappointment of his men overcomes him. He is an interesting character mainly because of his obsession with bodily fluids and what he feels to be the infiltration of his pure essence. This is the viewers first real clue to the ties in the midst of men, cozyity and war that Kubric is onerous to relay. The Generals foretell is Jack D. Ripper. Taking his comprise from a sexual psychopathic was no mistake.Ripper is obsessed with the fact that he cannot ejaculate during sexual intercourse and tries to denudation the answer to this dilemma by blaming the Russians for fluoridating the American piddle supply. T present are several interesting caricatures here beginning with the outward-bound appearance of ultimate masculinity, that of an American Army General, his ever present cigar, and the enormous gun he pulls out as he openings shooting at the soldiers that are trying to save him. He is every inch a sexual psychopath. Ripper is more interesting when seen from the viewpoint that men and their ob sessive sexual issues wreak havoc on the rest of the world.Rippers psychopathic behavior leads him to believe that he must take issues into his own hands and have war on Russia, even if that means overriding the chairwoman of the coupled States. He is bound and determined to annihilate anyone who stands in the way of his sexual dysfunction. The General moves smoothly from blaming early(a)s, to repressing himself, right into hostile repercussions for himself and everyone else. Closely attached to Jack D. Ripper is an English officeholder in the US on an Officer Exchange Program. Although the caricature of the English Officer is humorous, his name, Mandrake, keeps us on Kubrics path.Mandrake root is an herb that is often used in virile impotence, for virility and as an aphrodisiac. This is interesting because of the interplay between Mandrake and Ripper. Straight-laced, foreign or different, and a bit feminine Mandrake is the complete opposite of Ripper. He also tries to conso le Ripper that his bodily fluids are perfectly normal and that he has no problem using them. Several times Ripper asks Mandrake to garter him feed the enormous gun he is wielding about, and Mandrakes chemical reaction is quite feminine when he lays prostrate on the floor helplessly.The sexual symbols grow more numerous and less hidden as the movie progresses. We are introduced to the small group of men on the bomber who are sent to carry out the orders. The pilot in charge, major Kong, plays an interesting role in delivering a different type of caricature of men. As opposed to Ripper who was psychopathic and sexually dysfunctional, Major Kong was the All-American cowboy. Honorable, naive, and not afraid to get the job done. There are several scenes in which the major tries to drop down the bombs he is carrying and finds that they are stuck.Although his men cannot manage to solve the problem Major Kong leaves his post at the planes helm and goes to the underbelly of the plane to try to fix the wiring. He succeeds but when the bomb drops he is riding it, the bomb between his legs. This is the largest phallic symbol used in the movie and the considering the pilots name, Major Kong, it is no surprise. However, Kubric has the Major ride the bomb to its target where it so explodes in an enormous mushroom cloud. The explosion which is obviously symbolic of the decision of orgasm and the lunacy that drives men to achieve that end appears to be a recurrent home.The manlike sex drive as connected to war is again driven home by Kubric. Moreover, he builds on this theme and gives us a basis for understanding with the characters and plotting that occurs in the War Room. It is here that we meet the President, whose sexually illicit name refers to sexual zones of a woman, and the very outspoken Buck Turgidson. The caricature of Buck is perfectly summed up in the meaning of his name. The term buck means stud while the book of account turgid means swollen. These two ma in characters do most of the talking in a very large room. The President mimics the attributes of his womanly name and is very submissive and feminine.His speech is whiny and apologetic on the anticipate and most of his arguing is with Buck. They argue crossways a large panel and are so far away they practically have to cry to be heard. Buck only gets excited when he sees opportunities for destruction whereas the President is ready even to destroy his own bombers to keep the peace. The roles of these two characters are symbolic of the male versus female spatial relations. Even the great distance across the room from which they speak contributes to the feeling that they are coming from different points of view. The female perspective of peace and harmony as opposed to the male perspective of domination.As a character study Buck portrays several attributes of male domination. He is always the first to speak, overbearing when he communicates, often savage and petty, always stuff ing wads of gum into his mouth and smacking obscenely, and pouts like a toddler when he is asked to behave. He uses tactics to overpower the others by standing on his chair, glaring defiantly with those who disagree, and becoming physically violent to get his way if all other tactic fail. Of all the characters he is most desirous to carry out the war plans, for no other purpose than to win.The sexual innuendos associated with Buck relate to the only female in the movie who we meet briefly before he is called into the War Room. Kubrics choice to make Bucks love interest a secretary much younger than himself and who is always shown scantily clad in a bikini and high heels plays along with the typical male stereotype. At one point in the movie Buck receives a surround call from his fancy woman. He tries to assure her that he doesnt want her for her system but deeply respects her as a human being. He then promises hell be back soon to take distribute of her needs shortly.Buck also was unable to have intercourse with his mistress before the meeting as he was busy going to the basin and then was called away. Kubric is mocking the male need to substitute sex for war. some other interesting aspect about the war room is the Big calling card that is set up as the backdrop. It is an enormous map of Russia with the locations of all the bombers bleeping most the borders of the country. As the planes are all given the go code, the flashing lights start their course toward the border of Russia. The first plane to cross the border lead then trigger the unwanted reaction of the Russians.This is very symbolic of the sperms racing to the egg. All the sperm racing to be the first to invade the egg. One of the last characters introduced is Dr. Strangelove. Although he has little do in the movie his symbolic presentations are really Kubrics underlying message. Firstly, the name Strangelove is an accurate portrayal of whats been happening in the movie from the beginning. This unfamiliarity or perversion of love is the essence of Kubrics theme. Dr. Strangelove himself has several symbolic issues as a character. Firstly is his inability to keep his arm from involuntarily saluting Hitler.Second is his sudden cure from immobility from his wheelchair when he stands erect from so much excitement. Although both of these acts are sexually symbolic, the cause for the excitement is the revelation. As the men sit in the War Room they discuss the possibilities and repercussions of thermo thermonuclear war with Russia. Dr. Strangelove suggests taking a small community of people and active in underground mines. This prospect doesnt seem appealing until he mentions that in order to recreate all the lives lost from the devastation of nuclear war each man will need to have ten female partners.The discussion becomes lively and animated as the men work out the possibilities and then start to designate appealing sexual attributes the women must possess. utterly the immanent doom that awaits them with the total annihilation of the planet doesnt look so bad with a 101 ratio of women to men, and they find themselves looking forward to doomsday after all. It seems as though Kubric is trying to portray the fact that men use extreme situations such as war and total destruction as a tool to open up doors to consider sexual fantasies that would otherwise be taboo.Kubrics put-on of this attitude relays his thinking that this is the most ludicrous thinking of all, and suddenly the deed makes perfect sense. The movie ends with orgasmic explosion after explosion of hydrogen bombs, effective as it began with the foreplay of warplanes. Stanley Kubrics insight and opinion about the kinship of sexual obsessions, power and war were shrewdly masked in the symbolization that abounded everywhere in the film, but even to the untrained eye his message came through loud and clear.REFERENCES Dr Strangelove or How I learned to Love the Bomb. Dir. Stanley Kubric. 1964.