Dr. Strangelove

Template:Other uses of

1964 British satire film directed by Stanley KubrickTemplate:SHORTDESC:1964 British satire film directed by Stanley Kubrick

* Stanley Kubrick
* Terry Southern
* Peter George
* Peter Sellers
* George C. Scott
* Sterling Hayden
* Keenan Wynn
* Slim Pickens
* Tracy Reed
* January 29, 1964 (1964-01-29)
* United Kingdom

***Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb***, more commonly known simply as ***Dr. Strangelove***, is a 1964 black comedy film that satirizes the Cold War fears of a nuclear conflict between the Soviet Union and the United States. The film was directed, produced, and co-written by Stanley Kubrick and stars Peter Sellers, George C. Scott, Sterling Hayden, and Slim Pickens. The film was made in the United Kingdom. The film is loosely based on Peter George's thriller novel *Red Alert* (1958).

The story concerns an unhinged United States Air Force general who orders a first strike nuclear attack on the Soviet Union. It separately follows the President of the United States, his advisors, the Joint Chiefs of Staff and a Royal Air Force (RAF) exchange officer as they attempt to prevent the crew of a B-52 plane (who were following orders from the general) from bombing the Soviets and starting a nuclear war.

The film is often considered one of the best comedies ever made, as well as one of the greatest films of all time. In 1998, the American Film Institute ranked it twenty-sixth in its list of the best American movies (in the 2007 edition, the film ranked thirty-ninth), and in 2000, it was listed as number three on its list of the funniest American films. In 1989, the United States Library of Congress included *Dr. Strangelove* as one of the first twenty-five films selected for preservation in the National Film Registry for being "culturally, historically, or aesthetically significant".

## Plot

United States Air Force Brigadier General Jack D. Ripper is commander of Burpelson Air Force Base, which houses the 843rd Bomb Wing, flying B-52 bombers armed with hydrogen bombs. The planes are on airborne alert two hours from their targets inside the USSR.

General Ripper orders his executive officer, Group Captain Lionel Mandrake of the Royal Air Force (RAF), to put the base on alert and issue "Wing Attack Plan R" to the patrolling bombers, one of which is commanded by Major T. J. "King" Kong. All of the aircraft commence attack flights on the USSR and set their radios to allow communications only through their CRM 114 discriminators, which are designed to accept only communications preceded by a secret three-letter code known only to General Ripper. Mandrake discovers that no attack order has been issued by the Pentagon and tries to stop Ripper, who locks them both in his office. Ripper tells Mandrake that he believes the Soviets have been fluoridating American water supplies to pollute the "precious bodily fluids" of Americans. Mandrake realizes Ripper is insane.

In the War Room at the Pentagon, General Buck Turgidson briefs President Merkin Muffley and other officers about how "Plan R" enables a senior officer to launch a retaliatory nuclear attack on the Soviets if all superiors have been killed in a first strike on the United States. It would take two days to try every CRM code combination to issue a recall order, so Muffley orders the U.S. Army to storm the base and arrest General Ripper. Turgidson then proposes that Muffley let the attack continue, but Muffley refuses. Instead, he brings Soviet ambassador Alexei de Sadeski into the War Room to telephone Soviet Premier Dimitri Kissov on the "hotline". Muffley warns the Premier of the impending attack and offers to reveal the positions of the bombers and their targets so that the Soviets can protect themselves.

After a heated discussion with the Premier, the ambassador informs President Muffley that the Soviet Union had created a doomsday machine as a nuclear deterrent; it consists of many buried bombs jacketed with "cobalt-thorium G", which are set to detonate automatically should any nuclear attack strike the country. The cobalt-thorium G would encircle the planet in a radioactive shroud for 93 years, rendering the Earth's surface uninhabitable. The device cannot be deactivated, as it is programmed to explode if any such attempt is made. The President's wheelchair-using scientific advisor, former German Nazi Dr. Strangelove, points out that such a doomsday machine would only be an effective deterrent if everyone knew about it; Alexei replies that the Soviet Premier had planned to reveal its existence to the world the following week at the Party Congress.

U.S. Army troops arrive at Burpelson and engage in a battle with its forces. After General Ripper commits suicide, Mandrake identifies Ripper's CRM code from his desk blotter and relays it to the Pentagon. Using the code, Strategic Air Command successfully recalls all of the bombers except Major Kong's, whose radio equipment has been damaged in a missile attack. The Soviets attempt to find it, but Kong has the bomber attack a closer target due to dwindling fuel. As the plane approaches the new target, a Soviet ICBM site, the crew is unable to open the damaged bomb bay doors. Kong enters the bay and repairs broken electrical wiring while straddling an H-bomb, whereupon the doors open and the bomb is dropped. Kong joyfully hoots and waves his cowboy hat as he rides the falling bomb and it detonates over the target.

Back in the War Room, Dr. Strangelove recommends that the President gather several hundred thousand people to live in deep underground mines where the radiation will not penetrate. He suggests a 10:1 female-to-male ratio for a breeding program to repopulate the Earth once the radiation has subsided. Worried that the Soviets will do the same, Turgidson warns about a "mineshaft gap" while Alexei secretly photographs the War Room. Dr. Strangelove declares he has a plan, then suddenly rises from his wheelchair and exclaims, "Mein Führer, I can walk!" as the Doomsday Machine activates. The film ends with a montage of numerous nuclear explosions, accompanied by Vera Lynn's rendition of the song "We'll Meet Again".

## Cast

* Peter Sellers as:
	+ Group captain Lionel Mandrake, a British RAF exchange officer
	+ Merkin Muffley, the President of the United States
	+ Dr. Strangelove, the nuclear war expert and former Nazi who uses a wheelchair
* George C. Scott as General Buck Turgidson, Chairman of the Joint Chiefs of Staff
* Sterling Hayden as Brigadier General Jack D. Ripper, a paranoid commander of Burpelson Air Force Base, which is part of the Strategic Air Command.
* Keenan Wynn as Colonel Bat Guano, the Army officer who finds Mandrake and Ripper
* Jack Creley as Mr. Staines, National Security Advisor
* Slim Pickens as Major T. J. "King" Kong, the B-52 Stratofortress bomber's commander and pilot
* Peter Bull as Soviet Ambassador Alexei de Sadeski
* James Earl Jones as Lieutenant Lothar Zogg, the B-52's bombardier
* Tracy Reed as Miss Scott, General Turgidson's secretary and mistress, the film's only female character. She also appears as "Miss Foreign Affairs", the Playboy Playmate in *Playboy*'s June 1962 issue, which Major Kong is shown perusing at one point.
* Shane Rimmer as Capt. Ace Owens, the co-pilot of the B-52

### Peter Sellers's multiple roles

Peter Sellers plays three roles:File:Dr. Strangelove - Group Captain Lionel Mandrake.pngGroup Captain Mandrake (here sitting at an IBM 7090 console)Template:Better source needed

File:Dr. Strangelove - President Merkin Muffley.pngPresident Muffley

File:Dr. Strangelove.pngDr. Strangelove

Columbia Pictures agreed to finance the film if Peter Sellers played at least four major roles. The condition stemmed from the studio's opinion that much of the success of Kubrick's previous film *Lolita* (1962) was based on Sellers's performance in which his single character assumes a number of identities. Sellers had also played three roles in *The Mouse That Roared* (1959). Kubrick accepted the demand, later explaining that "such crass and grotesque stipulations are the *sine qua non* of the motion-picture business".

Sellers ended up playing three of the four roles written for him. He had been expected to play Air Force Major T. J. "King" Kong, the B-52 aircraft commander, but from the beginning Sellers was reluctant. He felt his workload was too heavy and he worried he would not properly portray the character's Texas accent. Kubrick pleaded with him and he asked the screenwriter Terry Southern (who had been raised in Texas) to record a tape with Kong's lines spoken in the correct accent. Using Southern's tape, Sellers managed to get the accent right and he started acting in the scenes in the aircraft but then sprained his ankle and he could not work in the cramped cockpit set.

Sellers is said to have improvised much of his dialogue, with Kubrick incorporating the ad-libs into the written screenplay so the improvised lines became part of the canonical screenplay, a practice known as retroscripting.

#### Group Captain Lionel Mandrake

According to film critic Alexander Walker, the author of biographies of both Sellers and Kubrick, the role of Group Captain Lionel Mandrake was the easiest of the three for Sellers to play, since he was aided by his experience of mimicking his superiors while serving in the RAF during World War II. There is also a heavy resemblance to Sellers' friend and occasional co-star Terry-Thomas and the prosthetic-limbed RAF ace Sir Douglas Bader.

#### President Merkin Muffley

For his performance as President Merkin Muffley, Sellers assumed the accent of an American Midwesterner. Sellers drew inspiration for the role from Adlai Stevenson, a former Illinois governor who was the Democratic candidate for the 1952 and 1956 presidential elections and the U.N. ambassador during the Cuban Missile Crisis.

In early takes, Sellers faked cold symptoms to emphasize the character's apparent weakness. That caused frequent laughter among the film crew, ruining several takes. Kubrick ultimately found this comic portrayal inappropriate, feeling that Muffley should be a serious character. In later takes Sellers played the role straight, though the President's cold is still evident in several scenes.

In keeping with Kubrick's satirical character names, a "merkin" is a pubic hair wig. The president is bald, and his last name is "Muffley"; both are additional homages to a merkin.

#### Dr. Strangelove

 File:JohnvonNeumann-LosAlamos.jpg
Dr. Strangelove is an ex-Nazi scientist, suggesting Operation Paperclip, the US effort to recruit top German technical talent at the end of World War II. He serves as President Muffley's scientific adviser in the War Room. When General Turgidson wonders aloud what kind of name "Strangelove" is, saying to Mr. Staines (Jack Creley) that it is not a "Kraut name", Staines responds that Strangelove's original German surname was *Merkwürdigliebe* ("Strange love" in German) and that "he changed it when he became a citizen". Twice in the film, Strangelove accidentally addresses the president as *Mein Führer*. Dr. Strangelove did not appear in the book *Red Alert*.

The character is an amalgamation of RAND Corporation strategist Herman Kahn, mathematician and Manhattan Project principal John von Neumann, rocket scientist Wernher von Braun (a central figure in Nazi Germany's rocket development program recruited to the US after the war), and Edward Teller, the "father of the hydrogen bomb". It has been claimed that the character was based on Henry Kissinger, but Kubrick and Sellers denied this; Sellers said, "Strangelove was never modeled after Kissinger—that's a popular misconception. It was always Wernher von Braun." Furthermore, Henry Kissinger points out in his memoirs that at the time of the writing of *Dr. Strangelove*, he was a little-known academic.

The wheelchair-using Strangelove furthers a Kubrick trope of the menacing, seated antagonist, first depicted in *Lolita* through the character "Dr. Zaempf". Strangelove's accent was influenced by that of Austrian-American photographer Weegee, who worked for Kubrick as a special photographic effects consultant. Strangelove's appearance echoes the mad scientist archetype as seen in the character Rotwang in Fritz Lang's film *Metropolis* (1927). Sellers's Strangelove takes from Rotwang the single black gloved hand (which, in Rotwang's case is mechanical, because of a lab accident), the wild hair and, most important, his ability to avoid being controlled by political power. According to Alexander Walker, Sellers improvised Dr. Strangelove's lapse into the Nazi salute, borrowing one of Kubrick's black leather gloves for the uncontrollable hand that makes the gesture. Dr. Strangelove apparently has alien hand syndrome. Kubrick wore the gloves on the set to avoid being burned when handling hot lights, and Sellers, recognizing the potential connection to Lang's work, found them to be menacing.

### Slim Pickens as Major T. J. "King" Kong

 File:Dr. Strangelove - Wing Attack Plan R.png
Slim Pickens, an established character actor and veteran of many Western films, was eventually chosen to replace Sellers as Major Kong after Sellers' injury. Terry Southern's biographer, Lee Hill, said the part was originally written with John Wayne in mind, and that Wayne was offered the role after Sellers was injured, but he immediately turned it down. Dan Blocker of the *Bonanza* western television series was approached to play the part, but according to Southern, Blocker's agent rejected the script as being "too pinko". Kubrick then recruited Pickens, whom he knew from his brief involvement in a Marlon Brando western film project that was eventually filmed as *One-Eyed Jacks*.

His fellow actor James Earl Jones recalls, "He was Major Kong on and off the set—he didn't change a thing—his temperament, his language, his behavior." Pickens was not told that the movie was a black comedy, and he was only given the script for scenes he was in, to get him to play it "straight".

Kubrick's biographer John Baxter explained, in the documentary *Inside the Making of Dr. Strangelove*:

Pickens, who had previously played only supporting and character roles, said that his appearance as Maj. Kong greatly improved his career. He later commented, "After *Dr. Strangelove* the roles, the dressing rooms, and the checks all started getting bigger."

### George C. Scott as General Buck Turgidson

 File:Dr. Strangelove - General Buck Turgidson.png
George C. Scott played the role of General Buck Turgidson, the Chairman of the Joint Chiefs of Staff. In this capacity General Turgidson was the nation's highest-ranking military officer and the principal military advisor to the President and the National Security Council. He is seen during most of the movie advising President Muffley on the best steps to take in order to stop the fleet of B-52 Stratofortresses that was deployed by Brigadier General Jack D. Ripper to drop nuclear bombs on Soviet soil.

According to James Earl Jones, Kubrick tricked Scott into playing the role of Gen. Turgidson far more ridiculously than Scott was comfortable doing. Kubrick talked Scott into doing over-the-top "practice" takes, which Kubrick told Scott would never be used, as a way to warm up for the "real" takes. Kubrick used these takes in the final film, causing Scott to swear never to work with Kubrick again.

During the filming, Kubrick and Scott had different opinions regarding certain scenes, but Kubrick got Scott to conform largely by repeatedly beating him at chess, which they played frequently on the set. Scott, a skilled player himself, later said that while he and Kubrick may not have always seen eye to eye, he respected Kubrick immensely for his skill at chess.[*failed verification*]

## Production

### Novel and screenplay

Stanley Kubrick started with nothing but a vague idea to make a thriller about a nuclear accident that built on the widespread Cold War fear for survival. While doing research, Kubrick gradually became aware of the subtle and paradoxical "balance of terror" between nuclear powers. At Kubrick's request, Alastair Buchan (the head of the Institute for Strategic Studies) recommended the thriller novel *Red Alert* by Peter George. Kubrick was impressed with the book, which had also been praised by game theorist and future Nobel Prize in Economics winner Thomas Schelling in an article written for the *Bulletin of the Atomic Scientists* and reprinted in *The Observer*, and immediately bought the film rights. In 2006, Schelling wrote that conversations between Kubrick, Schelling, and George in late 1960 about a treatment of *Red Alert* updated with intercontinental missiles eventually led to the making of the film.

In collaboration with George, Kubrick started writing a screenplay based on the book. While writing the screenplay, they benefited from some brief consultations with Schelling and later, Herman Kahn. In following the tone of the book, Kubrick originally intended to film the story as a serious drama. However, as he later explained during interviews, he began to see comedy inherent in the idea of mutual assured destruction as he wrote the first draft. Kubrick said:

Among the titles that Kubrick considered for the film were *Dr. Doomsday or: How to Start World War III Without Even Trying*, *Dr. Strangelove's Secret Uses of Uranus*, and *Wonderful Bomb*. After deciding to make the film a black comedy, Kubrick brought in Terry Southern as a co-writer in late 1962. The choice was influenced by reading Southern's comic novel *The Magic Christian*, which Kubrick had received as a gift from Peter Sellers, and which itself became a Sellers film in 1969. Southern made important contributions to the film, but his role led to a rift between Kubrick and Peter George; after *Life* magazine published a photo-essay on Southern in August 1964 which implied that Southern had been the script's principal author—a misperception neither Kubrick nor Southern did much to dispel—Peter George wrote an indignant letter to the magazine, published in its September 1964 issue, in which he pointed out that he had both written the film's source novel and collaborated on various incarnations of the script over a period of ten months, whereas "Southern was briefly employed ... to do some additional rewriting for Kubrick and myself and fittingly received a screenplay credit in Template:Em behind Mr. Kubrick and myself".

### Sets and filming

 File:Dr. Strangelove - The War Room.png   File:WarRoomModel.DrStrangelove.jpg
*Dr. Strangelove* was filmed at Shepperton Studios, near London, as Sellers was in the middle of a divorce at the time and unable to leave England. The sets occupied three main sound stages: the Pentagon War Room, the B-52 Stratofortress bomber and the last one containing both the motel room and General Ripper's office and outside corridor. The studio's buildings were also used as the Air Force base exterior. The film's set design was done by Ken Adam, the production designer of several *James Bond* films (at the time he had already worked on *Dr. No*). The black and white cinematography was by Gilbert Taylor, and the film was edited by Anthony Harvey and an uncredited Kubrick. The original musical score for the film was composed by Laurie Johnson and the special effects were by Wally Veevers. The opening theme is an instrumental version of *Try a Little Tenderness*. The theme of the chorus from the bomb run scene is a modification of *When Johnny Comes Marching Home*. Sellers and Kubrick got on famously during the film's production and shared a love of photography.

For the War Room, Ken Adam first designed a two-level set which Kubrick initially liked, only to decide later that it was not what he wanted. Adam next began work on the design that was used in the film, an expressionist set that was compared with *The Cabinet of Dr. Caligari* and Fritz Lang's *Metropolis*. It was an enormous concrete room (130 feet (40 m) long and 100 feet (30 m) wide, with a 35-foot (11 m)-high ceiling) suggesting a bomb shelter, with a triangular shape (based on Kubrick's idea that this particular shape would prove the most resistant against an explosion). One side of the room was covered with gigantic strategic maps reflecting in a shiny black floor inspired by dance scenes in Fred Astaire films. In the middle of the room there was a large circular table lit from above by a circle of lamps, suggesting a poker table. Kubrick insisted that the table would be covered with green baize (although this could not be seen in the black and white film) to reinforce the actors' impression that they are playing 'a game of poker for the fate of the world.' Kubrick asked Adam to build the set ceiling in concrete to force the director of photography to use only the on-set lights from the circle of lamps. Moreover, each lamp in the circle of lights was carefully placed and tested until Kubrick was happy with the result.

Lacking cooperation from the Pentagon in the making of the film, the set designers reconstructed the aircraft cockpit to the best of their ability by comparing the cockpit of a B-29 Superfortress and a single photograph of the cockpit of a B-52 and relating this to the geometry of the B-52's fuselage. The B-52 was state-of-the-art in the 1960s, and its cockpit was off-limits to the film crew. When some United States Air Force personnel were invited to view the reconstructed B-52 cockpit, they said that "it was absolutely correct, even to the little black box which was the CRM." It was so accurate that Kubrick was concerned about whether Adam's team had carried out all its research legally.

In several shots of the B-52 flying over the polar ice en route to Russia, the shadow of the actual camera plane, a Boeing B-17 Flying Fortress, is visible on the icecap below. The B-52 was a scale model composited into the Arctic footage, which was sped up to create a sense of jet speed. Home movie footage included in *Inside the Making of Dr. Strangelove* on the 2001 Special Edition DVD release of the film shows clips of the B-17 with a cursive "Dr. Strangelove" painted over the rear entry hatch on the right side of the fuselage.

In 1967, some of the flying footage from *Dr. Strangelove* was re-used in The Beatles' television film *Magical Mystery Tour*. As told by editor Roy Benson in the BBC Radio Documentary *Celluloid Beatles*, the production team of *Magical Mystery Tour* lacked footage to cover the sequence for the song "Flying". Benson had access to the aerial footage filmed for the B-52 sequences of *Dr. Strangelove*, which was stored at Shepperton Studios. The use of the footage prompted Kubrick to call Benson to complain.

### *Fail Safe*

*Red Alert* author Peter George collaborated on the screenplay with Kubrick and satirist Terry Southern. *Red Alert* was more solemn than its film version, and it did not include the character Dr. Strangelove, though the main plot and technical elements were quite similar. A novelization of the actual film, rather than a reprint of the original novel, was published by Peter George, based on an early draft in which the narrative is bookended by the account of aliens, who, having arrived at a desolated Earth, try to piece together what has happened. It was reissued in October 2015 by Candy Jar Books, featuring never-before-published material on Strangelove's early career.

During the filming of *Dr. Strangelove*, Stanley Kubrick learned that *Fail Safe*, a film with a similar theme, was being produced. Although *Fail Safe* was to be an ultrarealistic thriller, Kubrick feared that its plot resemblance would damage his film's box office potential, especially if it were released first. Indeed, the novel *Fail-Safe* (on which the film is based) is so similar to *Red Alert* that Peter George sued on charges of plagiarism and settled out of court.
What worried Kubrick the most was that *Fail Safe* boasted the acclaimed director Sidney Lumet and the first-rate dramatic actors Henry Fonda as the American president and Walter Matthau as the advisor to the Pentagon, Professor Groeteschele. Kubrick decided to throw a legal wrench into *Fail Safe*'s production gears. Lumet recalled in the documentary *Inside the Making of Dr. Strangelove*: "We started casting. Fonda was already set ... which of course meant a big commitment in terms of money. I was set, Walter [Bernstein, the screenwriter] was set ... And suddenly, this lawsuit arrived, filed by Stanley Kubrick and Columbia Pictures."

Kubrick argued that *Fail Safe*'s own source novel *Fail-Safe* (1960) had been plagiarized from Peter George's *Red Alert*, to which Kubrick owned creative rights. He pointed out unmistakable similarities in intentions between the characters Groeteschele and Strangelove. The plan worked, and the suit was settled out of court, with the agreement that Columbia Pictures, which had financed and was distributing *Strangelove*, also buy *Fail Safe*, which had been an independently financed production. Kubrick insisted that the studio release his movie first, and *Fail Safe* opened eight months after *Dr. Strangelove*, to critical acclaim but mediocre ticket sales.

### Ending

The end of the film shows Dr. Strangelove exclaiming, "*Mein Führer,* I can walk!" before cutting to footage of nuclear explosions, with Vera Lynn and her audience singing "We'll Meet Again". This footage comes from nuclear tests such as shot BAKER of Operation Crossroads at Bikini Atoll, the Trinity test, a test from Operation Sandstone and the hydrogen bomb tests from Operation Redwing and Operation Ivy. In some shots, old warships (such as the German heavy cruiser *Prinz Eugen*), which were used as targets, are plainly visible. In others, the smoke trails of rockets used to create a calibration backdrop can be seen. Former *Goon Show* writer and friend of Sellers Spike Milligan was credited with suggesting Vera Lynn's song for the ending.

### Original ending

 File:Pie Fight.jpg
It was originally planned for the film to end with a scene that depicted everyone in the War Room involved in a pie fight. Accounts vary as to why the pie fight was cut. In a 1969 interview, Kubrick said, "I decided it was farce and not consistent with the satiric tone of the rest of the film." Critic Alexander Walker observed that "the cream pies were flying around so thickly that people lost definition, and you couldn't really say whom you were looking at." Nile Southern, son of screenwriter Terry Southern, suggested the fight was intended to be less jovial: "Since they were laughing, it was unusable, because instead of having that totally black, which would have been amazing, like, this blizzard, which in a sense is metaphorical for all of the missiles that are coming, as well, you just have these guys having a good old time. So, as Kubrick later said, 'it was a disaster of Homeric proportions.Template:'"

### Effects of the Kennedy assassination on the film

A first test screening of the film was scheduled for November 22, 1963, the day of the assassination of John F. Kennedy. The film was just weeks from its scheduled premiere, but because of the assassination, the release was delayed until late January 1964, as it was felt that the public was in no mood for such a film any sooner.

During post-production, one line by Slim Pickens, "a fella could have a pretty good weekend in Dallas with all that stuff", was dubbed to change "Dallas" to "Vegas", since Dallas was where Kennedy was killed. The original reference to Dallas survives in the English audio of the French-subtitled version of the film.

The assassination also serves as another possible reason that the pie-fight scene was cut. In the scene, after Muffley takes a pie in the face, General Turgidson exclaims: "Gentlemen! Our gallant young president has been struck down in his prime!" Editor Anthony Harvey stated that the scene "would have stayed, except that Columbia Pictures were horrified, and thought it would offend the president's family". Kubrick and others have said that the scene had already been cut before preview night because it was inconsistent with the rest of the film.

### Rerelease in 1994

In 1994, the film was re-released. While the 1964 release used a 1.85:1 aspect ratio, the new print was in the slightly squarer 1.66:1 (5:3) ratio that Kubrick had originally intended.

## Themes

### Satirizing the Cold War

*Dr. Strangelove* ridicules nuclear war planning. It takes passing shots at numerous contemporary Cold War attitudes such as the "missile gap," but it primarily directs its satire on the theory of mutual assured destruction (MAD), in which each side is supposed to be deterred from a nuclear war by the prospect of a universal cataclysm regardless of who "won." Military strategist and former physicist Herman Kahn, in the book *On Thermonuclear War* (1960), used the theoretical example of a "doomsday machine" to illustrate the limitations of MAD, which was developed by John von Neumann.

The concept of such a machine is consistent with MAD doctrine when it is logically pursued to its conclusion. It thus worried Kahn that the military might like the idea of a doomsday machine and build one. Kahn, a leading critic of MAD and the Eisenhower administration's doctrine of massive retaliation upon the slightest provocation by the USSR, considered MAD to be foolish bravado, and urged America to instead plan for proportionality, and thus even a limited nuclear war. With this reasoning, Kahn became one of the architects of the flexible response doctrine which, while superficially resembling MAD, allowed for the possibility of responding to a limited nuclear strike with a proportional, or calibrated, return of fire (see *Conflict escalation*).

Kahn educated Kubrick on the concept of the semirealistic "cobalt-thorium G" doomsday machine, and then Kubrick used the concept for the film. Kahn in his writings and talks would often come across as cold and calculating, for example, with his use of the term "megadeaths" and in his willingness to estimate how many human lives the United States could lose and still rebuild economically. Kahn's cold analytical attitude towards millions of deaths is reflected in Turgidson's remark to the president about the outcome of a preemptive nuclear war: "Mr. President, I'm not saying we wouldn't get our hair mussed. But I do say no more than ten to twenty million killed, tops, uh, depending on the breaks." Turgidson has a binder that is labelled "World Targets in Megadeaths," a term coined in 1953 by Kahn and popularized in his 1960 book *On Thermonuclear War*.

The post-hoc planning in the film by Dr. Strangelove, done Template:Em the MAD policy has clearly broken down to keep the human race alive and to regenerate from populations sheltered in mineshafts, is a parody of those strict adherents of the MAD doctrine who are opposed to the prior creation of fallout shelters on ideological grounds. To advocates of the No-shelters approach, talk of survival takes the "assured destruction" out of "mutually assured destruction", hence no preparations should be conducted for fear of destabilizing the MAD doctrine. It is also somewhat of a parody of Nelson Rockefeller, Edward Teller, Herman Kahn, and Chet Holifield's November 1961 popularization of a similar plan to spend billions of dollars on a nationwide network of highly protective concrete-lined underground fallout shelters, capable of holding millions of people and to be built Template:Em any such nuclear exchange began. These extensive and therefore wildly expensive preparations were the fullest conceivable implementation of President Kennedy's month prior, September 1961 advocacy in favor of the comparatively more modest individual and community fallout shelters, as described in *Life* magazine, which was in the context of shelters being on the minds of the public at the time due to the Berlin Crisis. The Kennedy administration would later go on to expand the nascent United States civil defense efforts, including the assessment of millions of homes and to create a network of thousands of well known black and yellow placarded community fallout shelters. This was done not with a massive construction effort, but by the relatively cheap re-purposing of existing buildings and stocking them with CD V-700 geiger counters and other specialist equipment. In 1962 the Kennedy administration would found the American Civil Defense Association to organize this comparatively far more cost-effective shelter effort.

The fallout-shelter-network proposal mentioned in the film, with its inherently high radiation protection characteristics, has similarities and contrasts to that of the very real and robust Swiss civil defense network. Switzerland has an overcapacity of nuclear fallout shelters for the country's population size, and by law, new homes must still be built with a fallout shelter. If the US did that, it would violate the spirit of MAD and, according to MAD adherents, allegedly destabilize the situation because the US could launch a first strike and its population would largely survive a retaliatory second strike (see MAD § Theory).

To rebut early 1960s novels and Hollywood films like *Fail-Safe* and *Dr. Strangelove*, which raised questions about US control over nuclear weapons, the Air Force produced a documentary film, *SAC Command Post*, to demonstrate its responsiveness to presidential command and its tight control over nuclear weapons. However, later academic research into declassified documents showed that U.S. military commanders had been given presidentially-authorized pre-delegation for the use of nuclear weapons during the early Cold War, showing that that aspect of the film's plot was plausible.

The characters of Buck Turgidson and Jack Ripper both deride the real-life Gen. Curtis LeMay of the Strategic Air Command.

### Sexual themes

In the months following the film's release, director Stanley Kubrick received a fan letter from Legrace G. Benson of the Department of History of Art at Cornell University interpreting the film as being sexually-layered. The director wrote back to Benson and confirmed the interpretation, "Seriously, you are the first one who seems to have noticed the sexual framework from intromission (the planes going in) to the last spasm (Kong's ride down and detonation at target)."

Sexual metaphors often popped up when the nuclear analysts that Kubrick consulted were discussing strategy, such as when Bernard Brodie compared his not attacking cities/withhold plan following belligerent escalation to coitus interruptus in an internally circulated memorandum at the RAND Corporation (spoofed in the film as the "BLAND Corporation"), while he described the SAC plan of massive retaliation as "going all the way." That led RAND scholar Herman Kahn, whom Kubrick consulted, to quip to an assembled group of "massive retaliation" SAC officers, "Gentlemen, you do not have a war plan. You have a Wargasm!".

## Release

### Box office

The film was a popular success, earning US$4,420,000 in rentals in North America during its initial theatrical release.

## Reception

### Critical response

*Dr. Strangelove* is Kubrick's highest-rated film on Rotten Tomatoes, holding a 98% approval rating based on 91 reviews, with an average rating of 9.13/10. The site's critical consensus reads, "Stanley Kubrick's brilliant Cold War satire remains as funny and razor-sharp today as it was in 1964." The film also holds a score of 97 out of 100 on Metacritic, based on 32 reviews, indicating "universal acclaim." The film is ranked number 7 in the All-Time High Scores chart of Metacritic's Video/DVD section. It was selected for preservation in the United States National Film Registry.

*Dr. Strangelove* is on Roger Ebert's list of *The Great Movies*, and he described it as "arguably the best political satire of the century." One of the most celebrated of all film comedies, in 1998, *Time Out* conducted a reader's poll and *Dr. Strangelove* was voted the 47th greatest film of all time. *Entertainment Weekly* voted it at No. 14 on their list of *100 Greatest Movies of All Time*. it is the only comedy to make the top 10 in any of the *Sight & Sound* polls of best films. John Patterson of *The Guardian* wrote, "There had been nothing in comedy like *Dr Strangelove* ever before. All the gods before whom the America of the stolid, paranoid 50s had genuflected—the Bomb, the Pentagon, the National Security State, the President himself, Texan masculinity and the alleged Commie menace of water-fluoridation—went into the wood-chipper and never got the same respect ever again." It is also listed as number 26 on *Empire's 500 Greatest Movies of All Time*, and in 2010 it was listed by *Time* magazine as one of the 100 best films since the publication's inception in 1923. The Writers Guild of America ranked its screenplay the 12th best ever written.

In 2000, readers of *Total Film* magazine voted it the 24th greatest comedic film of all time. The film ranked 42nd in BBC's 2015 list of the 100 greatest American films. The film was selected as the 2nd best comedy of all time in a poll of 253 film critics from 52 countries conducted by the BBC in 2017.

### Studio response

Columbia Studio's early reaction to *Dr. Strangelove* was anything but enthusiastic. In "Notes From The War Room", in the summer 1994 issue of *Grand Street* magazine, co-screenwriter Terry Southern recalled that, as production neared the end, "It was about this time that word began to reach us, reflecting concern as to the nature of the film in production. Was it anti-American? Or just anti-military? And the jackpot question: Was it, in fact, anti-American to whatever extent it was anti-military?”

Southern recalled how Kubrick grew concerned about seeming apathy and distancing by studio heads Abe Schneider and Mo Rothman, and by Columbia's characterization of the film as "just a zany, novelty flick which did not reflect the views of the corporation in any way." Southern noted, however, that Rothman was in "prominent attendance" at a ceremony in 1989 when the Library of Congress announced it as one of the first 25 films on the National Film Registry.

### Awards and honors

The film ranked No. 32 on *TV Guide*'s list of the 50 Greatest Movies on TV (and Video).

American Film Institute included the film as #26 in AFI's 100 Years...100 Movies, #3 in AFI's 100 Years...100 Laughs, #64 in AFI's 100 Years...100 Movie Quotes ("Gentlemen, you can't fight in here! This is the War Room!") and #39 in AFI's 100 Years...100 Movies (10th Anniversary Edition).

## Potential sequel

In 1995, Kubrick enlisted Terry Southern to script a sequel titled *Son of Strangelove*. Kubrick had Terry Gilliam in mind to direct. The script was never completed, but index cards laying out the story's basic structure were found among Southern's papers after he died in October 1995. It was set largely in underground bunkers, where Dr. Strangelove had taken refuge with a group of women.

In 2013, Gilliam commented, "I was told after Kubrick died—by someone who had been dealing with him—that he had been interested in trying to do another *Strangelove* with me directing. I never knew about that until after he died but I would have loved to."

## See also

* CRM 114 (fictional device)
* Dead Hand (nuclear war)
* List of films considered the best
* Operation Paperclip—OSS program used to recruit scientists from Nazi Germany
* Politics in fiction
* Stanley Kubrick Archive
* Cobalt bomb
* Special Atomic Demolition Munition-type of nuclear bomb that can be strapped to a parachuter.

## References

1. ↑ Dr. Strangelove. British Board of Film Classification.
2. ↑ Pfeiffer, Lee (March 8, 2017). Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb. Encyclopædia Britannica.
3. ↑ Kaufman, Dave (Jan 21, 1964). Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb. Variety.
4. ↑ 4.0 4.1 Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb. British Film Institute (June 15, 2021).
5. ↑ 5.0 5.1 Dr. Strangelove or: How I learned to Stop Worrying and Love the Bomb. American Film Institute (June 15, 2021).
6. ↑ 6.0 6.1 Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964).
7. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>"ENTERTAINMENT: Film Registry Picks First 25 Movies". *Los Angeles Times*. Washington, D.C. September 19, 1989. Archived from the original on May 5, 2020. Retrieved April 22, 2020.
9. ↑ Who Was Dr. Strangelove? (March 9, 1999).
10. ↑ The distinctive bikinied torso on the cover dates this as the real June 1962 issue, which features the pictorial "A Toast to Bikinis" (a reference to Bikini Atoll, an American nuclear test site), shown as the pinups on the inside of the B-52's safe's door. Grant B. Stillman, "Last Secrets of Strangelove Revealed" Template:Webarchive, 2008.
11. ↑ For the pose, Reed lay flat on her chest and had the January 1963 (Vol. 41, No. 2) issue of *Foreign Affairs* covering her buttocks. Despite this modest pose, her mother was furious. In the novel and advertising posters, the *Playboy* model is identified as "Miss Foreign Affairs". Brian Siano, "A Commentary on Dr. Strangelove" Template:Webarchive, 1995 and "Inside the Making of Dr. Strangelove," a documentary included with the 40th Anniversary Special Edition DVD of the film.
12. ↑ Tulsa TV Memories. U.N.C.L.E., SAGE, SABRE, Strangelove & Tulsa: Connections Template:Webarchive
13. ↑ 13.0 13.1 13.2 13.3 Terry Southern, "Notes from The War Room" Template:Webarchive, *Grand Street*, issue #49
14. ↑ 14.0 14.1 Lee Hill, "Interview with a Grand Guy" Template:Webarchive: interview with Terry Southern
15. ↑ In the fictionalized biopic *The Life and Death of Peter Sellers*, it is suggested that Sellers faked the injury as a way to force Kubrick to release him from the contractual obligation to play this fourth role.
16. ↑ 16.0 16.1 16.2 16.3 16.4 16.5 16.6 16.7 16.8 16.9 "Inside the Making of Dr. Strangelove," a documentary included with the 40th Anniversary Special Edition DVD of the film
17. ↑ Oxford English Dictionary: Merkin (en).
18. ↑ Dan Geddes, "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964) Template:Webarchive"; *The Satirist*, December 2011.
19. ↑ Beverly Merrill Kelley, *Reelpolitik II: Political Ideologies in '50s and '60s Films*; Oxford: Rowman & Littlefield, 2004; p. 263 Template:Webarchive.
20. ↑ Jeffrey Townsend, et al., "Red Alert" in John Tibbetts & James Welsh (eds.), *The Encyclopedia of Novels into Films*, New York, 1999, pp. 183–186
21. ↑ Paul Boyer, "Dr. Strangelove" in Mark C. Carnes (ed.), *Past Imperfect: History According to the Movies*, New York, 1996.
22. ↑ Dr Strangelove. moviediva.com.
23. ↑ Starr, Michael Seth (1991). *Peter Sellers: A Film History*. McFarland & Company. p. 100. ISBN 978-0-89950-512-1.
24. ↑ The real Dr Strangelove. *New Scientist*.
25. ↑ Lolita. *The Criterion Collection*.
26. ↑ Frayling, Christopher. *Mad, Bad, and Dangerous?: The Scientist and the Cinema*. London: Reaktion, 2006. p.26
27. ↑ 27.0 27.1 Lee Hill, *A Grand Guy: The Life and Art of Terry Southern* (Bloomsbury, 2001), pp.118–119
28. ↑ Dan Blocker.
29. ↑ Movie Night!. Phenry.org (February 22, 1999).
30. ↑ Slim Pickens.
31. ↑ James Earl Jones (November 16, 2004). A Bombardier's Reflection. Opinionjournal.com.
32. ↑ "Kubrick on The Shining" Template:Webarchive from Michel Ciment, 'Kubrick', Holt, Rinehart, and Winston; 1st American ed edition (1983), Template:ISBN
33. ↑ Celebrating Kubrick's Dr Strangelove at 50. *BFI*.
34. ↑ Brian Siano, "A Commentary on Dr. Strangelove" Template:Webarchive, 1995
35. ↑ Alexander Walker, "Stanley Kubrick Directs," Harcourt Brace Co, 1972, Template:ISBN, cited in Brian Siano, "A Commentary on Dr. Strangelove" Template:Webarchive, 1995
36. ↑ Phone interview with Thomas Schelling by Sharon Ghamari-Tabrizi, published in her book *The Worlds of Herman Kahn; The Intuitive Science of Thermonuclear War* (Harvard University Press, 2005) "Dr. Strangelove" Template:Webarchive
37. ↑ 37.0 37.1 Terry Southern,"Check-up with Dr. Strangelove" Template:Webarchive, article written in 1963 for Esquire but unpublished at the time
38. ↑ Schelling, Thomas C. (2006). *Strategies of Commitment and Other Essays*. Harvard University Press. p. 212. ISBN 978-0-674-02567-7. https://archive.org/details/strategiesofcomm00sche.
39. ↑ Sharon Ghamari-Tabrizi, "The Worlds of Herman Kahn; The Intuitive Science of Thermonuclear War" Template:Webarchive, Harvard University Press, 2005.
40. ↑ *Macmillan International Dictionary of Films and Filmmakers*, vol. 1, p. 126
41. ↑ Usher, Shaun (April 3, 2012). Dr. Strangelove. *Lists of Note*.
42. ↑ George Case (2014), *Calling Dr Strangelove: The Anatomy and Influence of the Kubrick Masterpiece* (McFarland & Co, Jefferson, Nth Carolina) p.118, Template:ISBN
43. ↑ 43.0 43.1 "An Interview with Stanley Kubrick (1969)" Template:Webarchive, published in Joseph Gelmis, *The Film Director as Superstar*, 1970, Doubleday and Company: Garden City, New York.
44. ↑ Template:Citation
45. ↑ "A Kubrick Masterclass," interview with Sir Ken Adam by Sir Christopher Frayling, 2005; excerpts from the interview were published online at Berlinale talent capus Template:Webarchive and the Script Factory website Template:Webarchive
46. ↑ Interview with Ken Adam by Michel Ciment Template:Webarchive, published in Michel Ciment, "Kubrick," Holt, Rinehart, and Winston; 1st American ed edition (1983), Template:ISBN
47. ↑ The camera ship, a former USAAF B-17G-100-VE, serial 44-85643, registered F-BEEA, had been one of four Flying Fortresses purchased from salvage at Altus, Oklahoma, in December 1947 by the French Institut géographique national (IGN) and converted for surveying and photomapping work. It was the last active B-17 of a total of fourteen once flown by the IGN, but it was destroyed in a takeoff accident at RAF Binbrook in 1989 during making of the film *Memphis Belle*. 1944 USAAF Serial Numbers (44-83886 to 44-92098). *USAAS-USAAC-USAAF-USAF Aircraft Serial Numbers—1908 to Present*. Joseph F. Baugher.
48. ↑ Template:Cite episode
49. ↑ Candy Jar Publishes Classic.
50. ↑ DR STRANGELOVE—THE LOST STORY.
51. ↑ Red Alert—Peter Bryant—Microsoft Reader eBook. eBookMall, Inc..
52. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Schulman, Ari N. (October 7, 2014). "Doomsday Machines". *Slate*. Archived from the original on July 13, 2020. Retrieved July 21, 2020.
53. ↑ Jacobson, Colin. "Review:Fail-Safe: Special Edition (1964)." Template:Webarchive *dvdmg.com,* 2000. Retrieved: November 21, 2010.
54. ↑ Mick, Broderick (2016-01-12). *Reconstructing Strangelove : inside Stanley Kubrick's 'nightmare comedy'*. New York. ISBN 9780231177092. OCLC 966969835.
55. ↑ Sheward, David (2008). *Rage and Glory: The Volatile Life and Career of George C. Scott*. Hal Leonard Publishing. pp. 105–06. ISBN 9781557836700. https://books.google.com/books?id=VIwi8nGRuhIC&pg=PA105. Retrieved October 19, 2015.
56. ↑ 'Dr. Strangelove's' deleted Dallas reference and other Texas ties (January 19, 2014).
57. ↑ "No Fighting in the War Room Or: Dr. Strangelove and the Nuclear Threat", a documentary included with the 40th Anniversary Special Edition DVD of the film
58. ↑ Eric D. Snider, "What's the big deal?: Dr. Strangelove (1964) Template:Webarchive"; *Seattle Post-Intelligencer*, October 25, 2010.
59. ↑ LoBrutto, Vincent. "Stanley Kubrick: A Biography". Da Capo Press, 1995, p. 250
60. ↑ Sean M. Maloney, *Deconstructing Dr. Strangelove: The Secret History of Nuclear War Films* (Potomac Books, 2020) pp 64–65.
61. ↑ King, Mike (2009). *The American cinema of excess: extremes of the national mind on film*. McFarland. p. 46. ISBN 978-0-7864-3988-1.
62. ↑ *On Thermonuclear War* pp. 144–155
63. ↑  *Encyclopedia of American Foreign Policy, Volume 1*. Simon and Schuster. 2001. p. 471. ISBN 978-0-684-80657-0. https://archive.org/details/encyclopediaofam03deco/page/471.
64. ↑ Craig, Nelson (2014). *The age of radiance : the epic rise and dramatic fall of the atomic era*. pp. 290–291. ISBN 978-1451660432. OCLC 852226548.
65. ↑ *Fortune* magazine November 1961 pages 112–115 et al.
66. ↑ Office of Environmental Management - Department of Energy.
67. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Ball, Deborah (June 25, 2011). "Swiss Renew Push for Bomb Shelters". *The Wall Street Journal*. Archived from the original on August 25, 2017. Retrieved August 3, 2017.
68. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Foulkes, Imogen (February 10, 2007). "Swiss still braced for nuclear war". *BBC News*. Archived from the original on February 13, 2007. Retrieved November 23, 2011.
69. ↑ *SAC Command Post Template:Webarchive*
70. ↑ Template:Cite magazine
71. ↑ Lindley, Dan (8 September 2009). A Teaching Guide to Stanley Kubrick's Dr. Strangelove. www3.nd.edu. "Ripper: 'He said war was too important to be left to the Generals. When he said that, fifty years ago, he might have been right. But today, war is too important to be left to politicians. They have neither the time, the training, nor the inclination for strategic thought'. Air Force Lieutenant General David Burchinal (U.S.A.F. Chief of Staff LeMay's deputy for operations), speaks about the Cuban Missile Crisis and the value of strategic superiority: 'They did not understand what had been created and handed to them'. LeMay confirmed: 'That was the mood prevalent with the top civilian leadership, you are quite correct'."
72. ↑ Castle, Alison (2008). *The Stanley Kubrick Archives*. Taschen. p. 359. ISBN 978-3836508889.
73. ↑ Kaplan, Fred *The Wizards of Armageddon*. Stanford, California: Stanford University Press, 1991, 222–223
74. ↑ "Big Rental Pictures of 1964", *Variety*, January 6, 1965 p 39. Note this figure is rentals accruing to distributors, not total gross.
75. ↑ STANLEY KUBRICK. *Rotten Tomatoes*. Flixster.
76. ↑ Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964). *Rotten Tomatoes*. Fandango.
77. ↑ DVD/Video: All-Time High Scores.
78. ↑ Roger Ebert, "Dr. Strangelove (1964)" Template:Webarchive, July 11, 1999
79. ↑ Template:Cite magazine
80. ↑ Top 100 Films (Readers). *AMC Filmsite.org*. American Movie Classics Company.
81. ↑ Entertainment Weekly's 100 Greatest Movies of All Time. Filmsite.org.
82. ↑ Sight & Sound's directors' poll Template:Webarchive (no longer available as of 1 February 2015[update])
83. ↑ <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>Patterson, John (October 18, 2010). "Dr Strangelove: No 6 best comedy film of all time". *The Guardian*. Archived from the original on August 7, 2015. Retrieved December 15, 2016.
84. ↑ Template:Cite magazine
85. ↑ 101 Greatest Screenplays. Writers Guild of America, West.
86. ↑ The 100 Greatest American Films (20 July 2015).
87. ↑ The 100 greatest comedies of all time (2017-08-22).
88. ↑ 88.0 88.1 88.2 Southern, Terry. Notes from the War Room (en).
89. ↑ The 37th Academy Awards (1965) Nominees and Winners. Academy of Motion Picture Arts and Sciences.
90. ↑ Template:Cite journal
91. ↑ AFI's 100 Years...100 Movies. American Film Institute (1998).
92. ↑ AFI's 100 Years...100 Laughs. American Film Institute (2002).
93. ↑ AFI's 100 Years...100 Movie Quotes. American Film Institute (2005).
94. ↑ AFI's 100 Years...100 Movies (10th Anniversary Edition). American Film Institute (2007).
95. ↑ Trivia: Terry Gilliam Says Stanley Kubrick Wanted Him to Make a 'Dr. Strangelove' Sequel (en-US) (2013-10-16).
96. ↑ Brown, Todd (October 12, 2013). Stanley Kubrick Wanted Terry Gilliam To Direct SON OF STRANGELOVE. Twitch Film.

## Further reading

* Ellsberg, Daniel "The Doomsday Machine" New York: Bloomsbury Publishing, 2017 Template:ISBN.
* Dolan, Edward F., Jr. *Hollywood Goes to War*. London: Bison Books, 1985. Template:ISBN.
* Hardwick, Jack and Schnepf, Ed. "A Viewer's Guide to Aviation Movies". *The Making of the Great Aviation Films*, General Aviation Series, Volume 2, 1989.
* Henriksen, Margot A. (1987). *Dr. Strangelove's America: Society and Culture in the Atomic Age*. University of California Press. ISBN 978-0-520-08310-3. https://archive.org/details/drstrangelovesam00henr. Retrieved December 7, 2009.
* Oriss, Bruce. *When Hollywood Ruled the Skies: The Aviation Film Classics of World War II*. Hawthorne, California: Aero Associates Inc., 1984. Template:ISBN.
* Rice, Julian (2008). *Kubrick's Hope: Discovering Optimism from 2001 to Eyes Wide Shut*. Rowman & Littlefield. ISBN 978-0-8108-6206-7.

## External links

Template:Sister project links

* *Dr. Strangelove* essay by Wheeler Winston Dixon at National Film Registry [1]
* *Dr. Strangelove* essay by Daniel Eagan in America's Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry, A&C Black, 2010 Template:ISBN, pages 598-600 [2]
* *Dr. Strangelove* at IMDb
* Template:Tcmdb title
* Template:Amg movie
* Template:AFI film
* Template:Rotten-tomatoes
* "Checkup with Dr. Strangelove" by Terry Southern
* *Don't Panic* covers *Dr. Strangelove* (archived)
* Continuity transcript
* "Commentary on *Dr. Strangelove*" by Brian Siano
* "Last Secrets of Strangelove Revealed" by Grant B. Stillman
* Study Guide by Dan Lindley. See also: longer version
* Annotated bibliography on *Dr. Strangelove* from the Alsos Digital Library
* "*Dr. Strangelove*: The Darkest Room"—an essay by David Bromwich at the Criterion Collection
* Ann Hornaday, "The 34 best political movies ever made" *The Washington Post* (Jan. 23, 2020), ranked No. 6

Template:Stanley Kubrick
Template:Terry Southern

Template:Authority control