by Dwight Macdonald With this comédie noire Stanley Kubrick clinches his title—one I conceded him years ago—to Best of Show among our younger directors and
The great merit of Dr. Strangelove is its bad taste. It is silly to argue that we have the right to say anything we want but that to exercise this right is the height of irresponsibility. Responsible art is dead art, and a sane (no pun intended) film on the bomb would have been a deadly bore.
Dr. Strangelove, Or: How I Learned to Stop Worrying and Love the Bomb is one of the most cogent, comic, and cruel movies to come along in many a year, and one of the best.
Dr. Strangelove developed in us an embryonic skepticism for what was beginning to be called the “military establishment,” and it fostered a growing skepticism about authority everywhere.
Per molti versi, il film più «erotico» di Kubrick è ‘Il dr. Stranamore’ (1963) (girato anch’esso in Inghilterra), che segna la fine della collaborazione con Harris (il quale vuol passare alla regia ed esordirà due anni dopo con ‘Stato d’allarme’, film che sembra essere la risposta «realistica» a Stranamore).
The key of the brilliant comic tone of the film is in the title. What makes the picture so funny, terrifying and horribly believable is that everyone in the film really has learned to stop worrying, as smokers do about lung cancer after living with the statistics for a bit.
by Gerard Fay Stanley Kubrick is unusual among American film directors for a complete lack of flamboyance. He dresses without distinction, talks quietly and modestly,
by Caran Wakefield Pablo Ferraro’s original commercial for Doctor Strangelove: Or How I Learned to Stop Worrying and Love the Bomb teases the audience, offering
Dilys Powell reviews Stanley Kubrick’s Dr Strangelove
This study will point out how Dr. Strangelove is a sex allegory: from foreplay to explosion in the mechanized world.
In the following essay, Charles Maland discusses how Dr. Strangelove functions as a response to the American nuclear policy of the early 1960s
Stanley Kubrick’s new film, called Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, is beyond any question the most shattering sick joke I’ve ever come across.
Of Stanley Kubrick’s seven feature-length films, three, including two of the best, have been explicitly concerned with militarism and war. The most recent of these, Dr. Strangelove, has made Kubrick the darling of the Ban-the-Bomb movements, being widely taken as a satirical demolition of those who have “stopped worrying and learned to love the bomb.”
Robert Hatch reviews Stanley Kubrick’s Dr. Strangelove for “The Nation”
Recensione di Giovanni Grazzini del film Il Dottor Stranamore di Stanley Kubrick, pubblicata sul Corriere della Sera il 04 Aprile 1964