Hardcore (1979 film)

Written and directed by Paul Schrader, Hardcore is the story of a conservative businessman who goes on a search for his daughter as it is believed that she has taken part in the culture of pornography. The film is a study of a man who enters into a subculture of sadomasochism and pornography to find his daughter believing she has descended into a world of decadence and exploitation. Starring George C. Scott, Season Hubley, Peter Boyle, and Dick Sargent. Hardcore is a haunting yet rapturous film from Paul Schrader.

The film is set in the subculture of pornography, prostitution, and other forms of adult entertainment where the daughter of a Calvinist businessman from Grand Rapids, Michigan has disappeared into that world during a trip to Los Angeles as she never returned prompting her father to go into the world to find her. It’s a film that has a man with strong conservative values as he is a single father trying to run various businesses he owns in this small town of Grand Rapids while raising his daughter the right way with the help of his sister and her husband who have a family of their own. Paul Schrader’s screenplay has a straightforward narrative yet it’s more about a man venturing into a dark underworld of sex as it is far removed from everything he knows about as he seeks the help of a private investigator who is warning him about what he’s about to enter and maybe not want to have his daughter return home.

For Jake Van Dorn (George C. Scott), his journey to find his daughter and return her home forces him to enter this dark world and learn about its culture of sadomasochism, 8mm porno films, peep shows, prostitution and such that he has never been in contact with despite the fact that there is a porno theater in his home town where he would see his daughter Kristen (Ilah Davis) in a 8mm porno film. Kristen was part of a Calvinist-sponsored trip to California with her cousin only to not return as Van Dorn and his brother-in-law Wes (Dick Sargent) go to Los Angeles where they try to get help from the police as they turn to an unconventional private detective in Andy Mast (Peter Boyle) who doesn’t do things by the book as he also visits porno shoots and such to find out what happened to Kristen. Yet, Van Dorn is forced to do things himself as well as dress sleazier to be part of the world where he meets a young prostitute/porn actress in Niki (Season Hubley) who knows the men that was in the film that Kristen was in. Niki would take him closer to this world as she would finally find someone she can talk to other than just be used for sex.

Schrader’s direction is largely straightforward though he doesn’t go too far into showcasing the dark world of pornography as there’s nothing explicit shown as it is more about Van Dorn’s reaction of what he is seeing and the world his daughter has ventured into. Shot on locations in and near Grand Rapids, Michigan as well as parts of Los Angeles, San Diego, and San Francisco, Schrader uses Grand Rapids as a place of peace, decency, and ty of people that know and respect each other. It’s sort of disconnected by what is going on in society yet there are places that not even Van Dorn is aware of. Schrader’s usage of the medium and wide shots help play into that world as well as a sense of intimacy that is prevalent into Van Dorn’s home and the home of his sister. Schrader’s usage of close-ups would play into the emotional turmoil that Van Dorn would endure as his portrayal of California’s pornography scene is raw and uncompromising despite the lack of male full-frontal nudity.

Schrader’s direction also play into this fish out of water mentality that Van Dorn would feel as he would change his clothes from straight-laced suits to a look that is reminiscent of pimps and producers. Notably as he would pretend to be a porn producer and try to find the actors who appeared in the porno his daughter was in. The film’s third act that has Van Dorn traveling to San Diego and San Francisco to find an actor who might know Kristen’s whereabouts does show Schrader easing up the drama as Van Dorn is accompanied by Niki as it play into Van Dorn’s own faults as a man as well as the fact that he just tries to provide Kristen with a good life while he also shows concern for Niki, who is stuck in the world of porn and prostitution, as he offers a chance to leave this world. Still, there is that air of reality and cynicism that Van Dorn has to endure as well as revelations about his daughter and what she went through. Overall, Schrader crafts a visceral yet intense film about a father going into the dark world of pornography to find his daughter.

Cinematographer Michael Chapman does excellent work with the film’s cinematography with its usage of stylish lights for the scenes set at night that also include some naturalistic lighting for some of the daytime exterior scenes. Editor Tom Rolf does terrific work with the editing as it is largely straightforward as it play into the drama with a few stylish cuts that play into Van Dorn’s confrontations with a few individuals involved with Kristen’s disappearance. Production designer Paul Sylbert, with set decorator Bruce Weintraub and art director Edwin O’Donovan, does fantastic work with the look of some of the seedy brothels, strip clubs, and other porno places in California including the theater in Grand Rapids.

Sound mixer Bud Maffett does superb work for the sound in capturing the mood of the locations as well as some effects that occur in some of intense moments of action. The film’s music by Jack Nitzsche is wonderful for its mixture of blues and country to play into some of the sleaziness that Van Dorn encounters while the soundtrack also features original electronic music pieces by Jill Fraser and Rob Miller that play into the dark night life of California while the rest of the soundtrack feature a mixture of blues, country, and rock as it feature pieces by Mink Deville, Susan Raye, Byron Berline, and Crosby, Stills, Nash, & Young.

The casting by Vic Ramos is great as it feature some notable small roles from Tracey Walters as a porno store teller, Bibi Besch as a designer for Van Dorn’s company, Bobby Kosser as a porn director, Ed Begley Jr. as an actor playing a soldier for a porn film, Hal Williams as an African-American porn actor that auditions for a fake film Van Dorn is producing who spouts some hilarious lines, Marc Alaimo as a controversial porn figure in Ratan, Leonard Gaines as the sleazy porn producer Bill Ramada, Gary Graham and Will Walker as a couple of porn actors who appeared in the film that Kristen was in, and Ilah Davis as Van Dorn’s daughter Kristen as a young woman who disappears and then reappears in an 8mm porno film. Dick Sargent is superb as Van Dorn’s brother-in-law Wes DeJong as a man who becomes concerned with Van Dorn’s well-being as well as going to the police and later Mast for help.

Peter Boyle is brilliant as Andy Mast as an unconventional yet pessimistic detective who makes some chilling discoveries about Kristen while warning Van Dorn to not go any further as he is a flawed man that likes young girls and can be cruel but he is also someone who doesn’t bullshit when it comes to the dark realities of the world. Season Hubley is amazing as Niki as a porn actress/prostitute whom Van Dorn meets as she knows one of the actors in Kristen’s film as she helps Van Dorn while trying to understand his values as she sees a father figure in him as it play into her own troubled life and need for salvation. Finally, there’s George C. Scott in a phenomenal performance as Jake Van Dorn as a devoted Calvinist who is also a successful businessman in Grand Rapids who is given a rude awakening about what happened to his daughter as he copes with the world she’s in and the denial he might be carrying as it is an eerie and tormented performance from Scott who definitely provides some intense emotional moments as a man just dealing with things he might not be ready to cope with.

Hardcore is an incredible film from Paul Schrader that features a great performance from George C. Scott. Along with strong supporting work from Peter Boyle and Season Hubley as well as its study of a man entering into the decadent world of pornography to find his daughter. It is an unsettling yet engrossing film that explores a man being tested as well as be forced to examine his own faults as a man and as a father. In the end, Hardcore is a phenomenal film from Paul Schrader.

Paul Schrader Films: Blue Collar - American Gigolo - Cat People (1982 film) - Mishima: A Life in Four Chapters - (Light of Day) – (Patty Hearst) – (The Comfort of Strangers) – (Light Sleeper) – (Witch Hunt) – (Touch) – Affliction - (Forever Mine) – (Auto Focus) – (Dominion: Prequel to the Exorcist) – (The Walker) – (Adam Resurrected) – (The Canyons) – Dying of the Light - (Dog Eat Dog) – First Reformed - (The Card Counter)

© thevoid99 2020

Patton

Based on the biography Patton: Ordeal and Triumph by Ladislas Farago and the memoir A Soldier’s Story by Omar Bradley, Patton is the story of the World War II general and his exploits in the war along with his own unconventional methods in battle. Directed by Franklin J. Schaffner and screenplay by Francis Ford Coppola and Edmund H. North, the film is an exploration into the life of General George S. Patton his time during World War II as he’s played by George C. Scott. Also starring Karl Malden, Michael Bates, and Karl Michael Volger. Patton is a riveting and rapturous film from Franklin J. Schaffner.

The film explores the life of George S. Patton during his campaign in North Africa in 1943 as well as his eventual battles in Sicily and other European campaigns till the end of World War II in Europe. It’s a film that plays into a man who isn’t afraid to speak his mind while being a general who plays his own rules with old-school methods inspired by moments of the past. Yet, his tactics and uncompromising views on the way things are either has him be praised by some while others are bewildered by his behavior as well as his old-school methods. In some ways, Patton is essentially a stubborn motherfucker yet he is someone that seems to be fine with that as he knows he’s a egotistical son-of-a-bitch that wants some glory in the battlefield. The difference between himself and those he’s fighting with is that he has the balls to admit it.

The film’s screenplay by Francis Ford Coppola and Edmund H. North play into these different period of battle in Patton’s time as he is a man that embodies the idea of what it is to be a soldier and a general as he isn’t afraid to get his boots dirty nor is afraid of being shot at. It’s the kind of man that seems to love war as he lives to fight where the Germans want to know how he’s able to beat them in North Africa during its first act. When German military leaders ask one of their insubordinates in Captain Steiger (Siegfried Rauch) to study about him, it is Steiger who is fascinated by him as he sees him as a man out of step with the times as he uses methods from past wars to win battles instead of going for modern-day tactics.

It’s tactics that often confuse the Germans as well as Americans and their British allies where Patton often contends with his leaders and other officers including his longtime friend General Omar Bradley (Karl Malden). At the same time, Patton is also his own worst enemy as his willingness to say things or do things often get him in trouble. Especially at the risk of his superiors who want him to stay put and not cause any trouble yet they need him because he’s someone that can get the job done. It’s a dichotomy that is very interesting as well as the fact that he is a man that is someone that plays into a sense of something that was lost in war which adds to Captain Steiger’s admiration towards him.

Franklin J. Schaffner’s direction is truly mesmerizing from the opening sequence where Patton does this amazing monologue behind the American flag about the ideas of war and what men should do when fighting a war. It’s not about dying for the man’s country but making the other person die for his country. It sets the tone for the rest of the film of who Patton is as much of the film is shot in Spain for the scenes set in North Africa and Sicily along with a few locations in England, Belgium, Greece, and Morocco to play into his battles and moments of notoriety. Schaffner definitely aims for a lot of broad wide and medium shots to play into a man who is definitely considered larger than life. The use of those wide shots add a lot to the film’s battle scenes as well as everything that Patton is doing in terms of strategy and the need to beat the Nazis in such a brutal way. While the violence isn’t quite graphic, its sense of impact in its aftermath as well as the sense of death is still evident such as the first sequence set in North Africa.

The direction also has moments that are very intimate where Schaffner knows where to place the camera such as a key scene where Patton learns he is expected to do nothing during the upcoming Normandy campaign as he talks to his longtime aide Sgt. Meeks (James Edwards) in the hallway about how he’s feeling. It’s presented in a very detached wide shot and then cuts to medium shot of the two with Sgt. Meeks in the foreground and Patton in the background as he is talking. It plays into that sense that Patton is a man who isn’t just detached from the current state of the world but also someone who might be too extreme for the 20th Century. Most notably in a scene where he visit a hospital tent to meet with the wounded while he sees a young soldier crying over fatigue as he slaps the shit out of the guy and threatens to kill for acting like a fucking pussy. It plays into the idea of what war is where it is about fighting to go home. If that person doesn’t want to fight and go home, what happens when there is no home to go to?

It is among these elements in a film that like this that plays into the idea of who Patton is. He is a flawed individual but Schaffner knows how to play into that as there’s scenes where Patton is giving speeches in places near France and in Britain where he does take a few pot-shots at certain individuals and countries. The presentation of these moments play into Patton’s own discomfort when he’s not in the battlefield as Schaffner uses some key close-ups to play into that sense of discomfort. Once Patton is in battle, he is absolutely in his element where Schaffner showcases someone who lives to fight through its many different approach to compositions as the direction feels loose and sprawling. Overall, Schaffner creates a very towering yet exhilarating film about one of the 20th Century’s most controversial yet uncompromising warriors.

Cinematographer Fred J. Koenekamp does amazing work with the film‘s cinematography that is very vibrant with its approach to colors for many of its daytime interior/exterior scenes as well as create some unique lighting schemes for the scenes at night including an impromptu battle at night between U.S. army tankers and a German battalion. Editor Hugh S. Fowler does brilliant work with the editing as it‘s very straightforward in terms of creating tension in the drama as well as using some offbeat rhythms for the comical scenes as well as the battle scenes that occur in the film. Art directors Urie McCleary and Gil Parrondo, with set decorators Antonio Mateos and Pierre-Louis Thevenet, do fantastic work with the set pieces from the look of the mansions where Patton stays in during his down time as well as the tents and bases where he deals with military matters.

The sound work of Douglas Williams and Don Bassman do excellent work with the sound to capture the way planes fly near the bases as well as the sounds of gunfire and cannons as it adds to the sense of chaos that is war. The film’s music by Jerry Goldsmith is superb for its very bombastic, brass-based score to play into a sense of triumph and pride as well as some low-key orchestral moments for some its dramatic moments.

The casting by Michael McLean is great as it features notable small roles from Tim Considine as the crying soldier that Patton slaps, Morgan Paull as Patton’s North African aide Captain Jenson, John Doucette as Major General Lucian Truscott, Edward Binns as General Walter Bedell Smith, and Richard Munch as the top German military leader Colonel General Alfred Jodl who tries to figure out everything that Patton is doing. James Edwards is terrific as Sgt. Meeks who often helps Patton with smaller duties out of the battlefield while Paul Stevens is superb as Colonel Charles R. Codman who is Patton’s new aide during the European campaigns as he would observe Patton’s methods. Karl Michael Vogler is fantastic as Field Marshal Erwin Rommel whom Patton admires for his tactics though Rommel is a Nazi. Siegfried Rauch is excellent as Captain Steiger who is asked by Rommel and Jodl to study Patton as he would become an admirer of his ideas and methods.

Michael Bates is brilliant as Field Marshal Sir Bernard Montgomery as a man who is eager to win battles so he can be in history books as he has a hard time dealing with Patton’s own methods and one-upmanship during the war. Karl Malden is amazing as General Omar Bradley who starts off as an insubordinate of Patton as he tries to cope with Patton’s methods as he later becomes his superior where he tries to keep Patton in check so that Patton could fight. Finally, there’s George C. Scott in a performance for the ages in the titular role as he exudes that sense of grandeur and craziness into a man that feels like he is from another place in time as he uses old-school methods to win battles while becoming unhinged when he’s not fighting battles as he has to deal with diplomacy as it’s a performance filled with charm and ferocity as it is truly an iconic performance from Scott.

Patton is an outstanding film from Franklin J. Schaffner that features a truly towering and astounding performance from George C. Scott in the titular role. It’s a film that doesn’t just embody the idea of what it means to be in a war but also in how to lead an army into fighting for what is right. Especially as it showcases George S. Patton in a very complex way through all of his flaws and attributes while revealing that there will never be another warrior like him. In the end, Patton is a phenomenal film from Franklin J. Schaffner.

© thevoid99 2015

The Hustler

Based on the novel by Walter Tevis, The Hustler is the story about a small-time pool hustler who wants to prove himself to be the best pool player in the U.S. as he goes after a legendary pool player. Directed by Robert Rossen and screenplay by Rossen and Sidney Carroll, the film explores a man’s desire to be the best at any cost as he would hustle his way into being the best as the character of “Fast Eddie” Felson is played by Paul Newman. Also starring Piper Laurie, George C. Scott, and Jackie Gleason as Minnesota Fats. The Hustler is a chilling yet captivating film from Robert Rossen.

The film is an exploration into the world of pool-hustling as a young hustler named “Fast Eddie” Felson wants to become the best and dethrone the king of pool hustling in Minnesota Fats. The two would play a 25-hour marathon where Felson had Fats beaten but ends up losing more than just money as he drowns his sorrows with an alcoholic writer whom he would move in with. Just as opportunity comes in to get himself back up, more setbacks would emerge as it would drive Felson to be more determined to be the best and beat Fats once and for all but with a heavy price. It’s a film that plays into a man who arrives rich and eager to be the best but for all of his talent, he lacks character and to know when to quit.

The film’s screenplay by Robert Rossen and Sidney Carroll create a script that takes great use with its structure as the first act is about the Felson and Fats’ game while the second act is about Felson dealing with his loss and trying to get himself back up. The third act is about him taking an opportunity that would later cost him more than money as it would involve him working with a seedy gambler in Bert Gordon (George C. Scott). Yet, the one person that Felson would bring into his life is Sarah Packard (Piper Laurie) as she is this writer trying to make it as she is in need of help as does Eddie where the two are drawn together by their troubles. When Felson takes her for the ride to see if he can score some money, things become troubling where the film’s dialogue definitely becomes very powerful into the troubles that Felson would deal with.

Rossen’s direction is quite engaging for the way he explores the world of pool-hustling as it’s a world where hustling is the key to survival. Much of the direction is quite intimate in the way Rossen presents the scenes of men playing pool where it’s a game of wit and skill. The camera is always gazing down at the pool table where it’s a world that is very unique where smoke is also a key proponent to the atmosphere of the pool hall. In the non-pool scenes, Rossen does maintain that intimacy in the relationship between Eddie and Sarah where some of the compositions in the way Rossen places the actors in a frame is very unique. Even as the characters in the background add some importance as it plays to the drama of the film where the film’s third act would become more dramatic as it plays to the way Felson leads his life and what is important to him. Overall, Rossen crafts a very mesmerizing and intelligent film about the world of pool-hustling.

Cinematographer Eugene Schufftan does fantastic work with the film‘s black-and-white photography from the way smoke is captured in the pool halls to the shadows and shading for some of its interior and exterior scenes. Editor Dede Allen does brilliant work with the editing with its stylish use of dissolves for the pool montages as well as some very seamless cutting techniques to play into the drama of the film. Production designer Harry Horner and set decorator Gene Callahan do excellent work with the look of the pool halls as well as the hotel suite Eddie and Sarah stay at with Bert in the film’s third act.

Costume designer Ruth Morley does nice work with the costumes from the suit that Fats wears to the clothes that Sarah wears. Sound editors Edward Beyer and Jack Fitzstephens do superb work with the sound to play into the atmosphere of the pool hall as well as the party that Eddie, Sarah, and Bert go to. The film’s music by Kenyon Hopkins is just great for its jazz-based score to play into the atmosphere of the pool hall while it also includes some somber moments for the film’s melodramatic scenes.

The film’s cast includes a cameo appearance from Jake LaMotta as a bartender as well as notable small roles from Murray Hamilton as the rich hustler Findley and Myron McCormick as Eddie’s partner Charlie. George C. Scott is excellent as the very smarmy yet smart gambler Bert Gordon as man who tells Eddie that he’s a born loser as he’s willing to make money off of him any way he cans. Jackie Gleason is great as Minnesota Fats as a very skilled pool player who knows how to endure marathons as he welcomes Eddie’s challenge as Gleason has this very low-key subtlety to his performance that makes him so complex.

Piper Laurie is amazing as Sarah Packard as this alcoholic writer who falls for Eddie as she deals with his willingness to hustle as she wonders if she’s being hustled. Finally, there’s Paul Newman in a tremendous performance as “Fast Eddie” Felson as this very skilled hustler who has the tools to be a great player but his arrogance would become his downfall as it’s a performance that has Newman display a lot of emotional weight and complexity to his character as it’s one of his best.

The Hustler is a remarkable film from Robert Rossen that features an iconic performance from Paul Newman. Along with a strong supporting cast, a cool music score, and some amazing technical work, it’s a film that isn’t just a compelling piece into the world of pool-hustling but also in how people risk their lives in the game of life. In the end, The Hustler is an incredible film from Robert Rossen.

Related: The Color of Money

© thevoid99 2014

Dr. Strangelove or How I Learned to Stop Worrying and Love the Bomb

Originally Written and Posted at Epinions.com on 4/30/07 w/ Additional Edits.

Based on a novel by Peter George, Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb tells the story about a delusional U.S. general who plans an attack on Russians as a bomber plane is on his way to bomb the Soviets. During a meeting, the President tries to talk to the Russian premier before all hell breaks loose while a RAF officer tries to intervene. Directed by Stanley Kubrick with an adapted script written by Kubrick, Peter George, and Terry Southern with uncredited contributions from James B. Harris and the film's star Peter Sellers. The movie is a satire on the paranoia about an outbreak in the Cold War. Done with irreverent humor, cynicism, wit, and a tense atmosphere, Dr. Strangelove marked the beginning of Kubrick achieving greatness. With an all-star cast that includes Peter Sellers in three roles plus George C. Scott, Sterling Hayden, James Earl Jones, Keenan Wynn, Tracy Reed, and Slim Pickens. Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb is a superb yet hilarious film from Stanley Kubrick.

RAF officer Colonel Lionel Mandrake (Peter Sellers) is called upon by his superior General Ripper (Sterling Hayden), who has become paranoid about the Cold War that he ordered a bombing attack on the Russians. Notably as he claims that there's a conspiracy by the Russians in order to destroy bodily fluids. Mandrake learns that Ripper uses a secret emergency plan that isn't authorized by the joints chief of staff as well as the American president. Ripper's claims become more troubling as he claims that the Russians are here as his troops are getting ready to fight the Russians in their Air Force base. Mandrake realizes that Ripper has no proof since there is no warning on the radio and demands Ripper to give him the recall code. Unfortunately, it's too late as the code is reached to bombers making their way to Russian including one led by Major T.J. "King" Kong (Slim Pickens) and his team that included Lieutenant Goldberg (Paul Tamarin) Lieutenant Lothar Zogg (James Earl Jones).

Back in Washington D.C., a secretary named Miss Scott (Tracy Reed) receives a call for General Buck Turgidson (George C. Scott) who is needed in the Pentagon with a special meeting that included the President. Turgidson meets President Merkin Muffley (Peter Sellers) who learns that bombers are on their way to Russia as Turgidson thinks it's a good opportunity to attack. Muffley is aware that things are going to hell with the Russians going to retaliate. Making things worse, Muffley invited Russian ambassador Alexi di Sadesky (Peter Bull) to the war room as Turgidson claims he's here to spy on the war room. The look at the attack brings tension as Muffley tries to talk to the Russian leader and learns that if the bombers reach their proposed target, a doomsday machine will be triggered. The ambassador explained that the machine is created by computers to trigger a series of nuclear bombs that will mark the end of the world.

Muffley immediately wants the recall code but the paranoid Ripper is already in battle as he's joined side-by-side with Mandrake. Mandrake understands why Ripper prefers to drink a certain brand of water and stuff while revealing his own issues with bodily fluids. The battle rages on as Mandrake eventually gets the recall code but finds himself in trouble with Army Colonel Bat Guano (Keenan Wynn) who was fighting in the battle. The President meanwhile, calls upon a strategy expert and former Nazi named Dr. Strangelove (Peter Sellers) about what to do. Dr. Strangelove reveals his excitement for the doomsday machine. The President finally receives the code though aware that four planes were shot but one of them managed to survive. The plane revealed to be Major Kong's as he lost communication and everything as he attempts to bomb a base. Just as things look great for both the Americans and Russians, the President receives a call from the Russian leader about one of the bombers on his way. There, everyone ponders what is about to happen.

During those times of the Cold War, many people feared about how something like Communism would spread onto American soil while wondering about the aftermath that would lead to World War III. What Stanley Kubrick and his writers chose to do was pretty much make fun of these things. Notably the paranoia starting with General Ripper's claims of the Russians poisoning American water supplies. What the film is really about is misinformation and mis-communication. It's in those two themes where the film's humor and satire lies.

The screenplay that is co-written by satirist Terry Southern reveals the way American politics often duel with each other. You have the more patriotic General Turgidson wanting to help the American cause while he's often clashing with the more peaceful but timid President Muffley. Muffley represents a moral conscience of the film while also reveal the lack of strength he has as a world leader whenever he's trying to talk with the Russian president.

Some of the film's humor in both the war room scenes and in the bomber scenes with Major Kong reveal the absurdity of the Cold War. Notably on how a war against the Russians can be provoked. Some of the dangers about the missiles and most of all, the doomsday machine show how bad the Cold War was at the time and how close the Russians and Americans had gotten into some serious conflict. It's in Kubrick's observant, eerie direction that really captures the tension, morality, and humor of the movie. His camera always is on some kind of moment whether it's Turgidson wanting to go at with the Russian ambassador or Mandrake trying to understand Ripper's paranoia. Some of the film's most memorable sequences is definitely in the bomber scenes with Major Kong that is really the funniest in the film. Notably because Major Kong is a gung-ho American pilot wanting to bomb the Commies while things go wrong.

The film's most horrifying and funniest moment is included in an iconic image that's often parodied throughout pop culture. It is afterwards that Kubrick gives the audience an open interpretation of what might happen after this as Muffley, Turgidson, the Russian ambassador, the staff, and Dr. Strangelove discuss the future. It is there that Dr. Strangelove has his moment which ends on a funny but dark note.

The direction by Kubrick is really the highlight where he puts humor in places that often doesn't have humor. The comedy feels natural and relatable. Even in the paranoia and tension in the war room scenes, the Ripper sequences, and of course, the bomber scenes are just amazing and none of them overshadow anything. Kubrick really brings it all together as the film moves very leisurely while letting the audience to sit back and enjoy. Overall, it's a really damn good film that's very funny and spot-on about the times.

Helping Kubrick in his visual presentation is cinematographer Gilbert Taylor whose black-and-white photography showcases the dark intimacy of the war room with its wonderful shades of light. Taylor's photography also works in the intimate, hand-held work in some of the scenes in the bomber while adding tension to the scenes with Mandrake. Taylor's camera work is amazing in conveying the sense of horror. Longtime production designer Ken Adam and art director Peter Murton do amazing work in creating the war room with a circular table and screens that looks so eerily authentic that it almost looks like a real war room.

Adam's work is just amazing for capturing the atmosphere and tension, even in the bomber where things are cramped and no one really knows what's going on. Editor Anthony Harvey does great work in bringing all three stories together to convey the sense of chaos while making it nicely paced in the film's 96-minute running time. Even the use of stock footage and the scenes with the bomber plane are wonderful to convey the absurdity. Sound editor Leslie Hodgson also does great work in capturing the tension of each sequence to reveal its chaos.

Music composer Laurie Johnson creates a wonderful opening score that starts off as very serene and dreamy only to put the audience off of what is coming. There's a great music theme by Louis Lambert that plays to the humor of Major Kong getting ready for battle while a song by Vera Lynn in We'll Meet Again appears in the end to convey what had just happened.

The film's cast is wonderful featuring memorable small performances from Shane Rimmer, Paul Tamarin, and in an early film appearance, James Earl Jones as bombardiers in the war plane trying to understand what Kong is doing as well as their destination. Tracy Reed is memorable as her brief appearance as General Turgidson's secretary/mistress Miss Scott while also appearing in a Playboy spread that Kong is reading. Peter Bull is great as the Russian ambassador who tries to help things out though in reality, he is a spy of sorts while trying to think about his own leader and the future of the world. Bull is funny for how he reacts to the absurdity in which, he makes the Americans feel a bit stupid. Keenan Wynn is also great in his small role as Col. Guano who captures Mandrake who doesn't believe what is going on really while having a funny moment that involves a Coke machine as Mandrake tries to persuade him about what's really happening.

Sterling Hayden is wonderful as the paranoid, mis-informed General Ripper whose talks of bodily fluids and water makes him a complex yet sympathetic character who loses grip with reality while trying to protect the recall code. Hayden is great in his role for being the man who causes trouble but didn't mean to. George C. Scott is also great as the patriotic, war-loving General Turgidson who is more concerned about American pride rather than what's right for the people. Scott, who is often seen in dramatic films, really showcases his talents in comedy both physical and in word play as it's a great performance from the late yet legendary actor. Noted character actor Slim Pickens is hilarious as the gung-ho Major Kong with his Texan drawl and determination to nuke the Commies with all of his might. Pickens is just a hoot to watch in every scene he's in, notably when a missile causes an error for the plane that would lead to one of the film's iconic images.

Finally, there's the late Peter Sellers in one of his greatest performances in playing not one but three roles in the film. In the role of Colonel Mandrake, Sellers plays it straight as his character is the least-humored of the three. Sellers plays Mandrake with a sense of morality and intelligence while often being frustrated in how he's trying to handle things. Sellers performance as Mandrake is amazing. In the role of President Muffley, Sellers again plays it straight but with a lot of humor that is restrained. Sellers not only sells the American accent just right but shows Muffley's timid, frightened expression when dealing with the Russian during the hysteria of what's happening. In the title character, Sellers' comedic talents is very evident with a German accent, being on a wheelchair and wearing strange blond hair. Sellers exudes the psychotic humor and excitement of Dr. Strangelove as he has some of the film's best lines including the last one. The character of Strangelove is very funny and downright strange since he brings all kinds imagery to a character that is dark.

Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb is a funny, intelligent, and haunting film by Stanley Kubrick. This film is no doubt one of the must-see films ever made thanks in large parts to its humor, Kubrick's eerie direction, the script, and the cast, notably Peter Sellers. Fans of satire will no doubt enjoy this film while for those new to Kubrick and Sellers will find this movie as a nice place to start. Particularly in how relevant the film is in relation to today's time as the world is in chaos. In the end, Dr. Strangelove is a powerful and funny film from the late, great Stanley Kubrick.

Stanley Kubrick Films: Fear & Desire - Killer's Kiss - The Killing - Paths of Glory - Spartacus - Lolita - 2001: A Space Odyssey - A Clockwork Orange - Barry Lyndon - The Shining - Full Metal Jacket - Eyes Wide Shut

Related: Stanley Kubrick: A Life in Pictures - The Auteurs #18: Stanley Kubrick

(C) thevoid99 2012