1 The leaders in the political jokes make decisions and slack off work at will. General Barker reported to the president that Rippi was crazy when he launched Project R without permission. He was uncontrollably excited when he expounded his views "according to unofficial research." arrival. The prime minister who should be decisive and wise lacks determination and has no brain to believe in the absurd overall social plan of "mining society" proposed by Dr. Qi Ai. Faced with the fighters of one's own country, he unscrupulously chooses to sacrifice American soldiers, which is very different from the United States, which has always called for human rights. The leaders claim to be peaceful but they are militants. The identities of the characters in the film reflect the real life German physicists Otto Hanin and Fritz Strassmann during the Cold War, the identity itself The inconsistency in attributes and performance brings about absurd black humor. At the beginning of the film, the textual recounting of the U.S. Air Force's objections in real life looks more like Kubrick's mockery of the government. 2 As always in the erotic add-on films, men and women are used as the spice of the movie. The U.S. Air Force watching "Playboy", the general in love with the secretary, the gay adjutant, swinging up and down with a cigar in his mouth. Commander, it’s ridiculous that the opportunity to start the war was only because of the commander’s worries about his "precious body fluids." Facing the destruction of the world 1: 10 male to female ratio politicians yearning expressions. The serious scene of the Pentagon meeting is interspersed with flirting calls between General Barker and his mistress. The names of the characters in the film are all descriptive word evolutions. All sorts of sexual hints put scarlet color on this black-and-white political absurd drama. 3 The special lens language performance film highlights that when the US Air Force is bombed by a missile, it increases the sense of tension through the close-up of the distance and time of the missile on the instrument panel. Kubrick divided the movie into three unconnected scenes. The scene where the Pentagon authorities met was shot from above, forming a "mushroom cloud" similar to a nuclear explosion. The plane flying over Russia divided the scene into In addition to the concise and symmetrical pictures, the exterior scenes of the air force base and the interior scenes of the office are more like documentary shooting methods for the follow-up of the war footage. Kubrick has a different emphasis on shooting methods for the three scenes divided in the movie. For example, the Pentagon uses fixed lenses and overhead shots, airplanes use overhead shots for close-ups, and air force bases use tracking shots. The natural shaking of the lens. 4 Contrast highlighting irony. The billboard of the air force base in the artillery fire has a slogan of peace. The sharp contrast makes the film a strong irony. The president who is preaching that war is a slaughter uses a phone call to try to kill his country’s B-52 bomber. The president was indifferent and drifting with the crowd when he learned that the world was going to die. The human elite Qi Ai proposed the elitism adopted after the destruction of the world without considering the future of mankind. This seems to be the author's refracting of Nazi eugenics. In the face of world destruction and nuclear explosions, it seems difficult for us to laugh out loud. This black humor breaks away from the funny soundtrack of the comedy, from the nonsensical exaggeration, and from the performance that jumps up and down. We are more inclined to take this "Future Trilogy" as a satire to wake up. Kubrick deliberately erased the scene of Pentagon politicians dropping the cake before the movie was released, perhaps to avoid the exaggerated impression of comedy in our inherent thinking. What Kubrick showed us was the worries about nuclear, and the fear and deterrence of human beings in the face of extinction. The unstoppable "doomsday device" in the film is a warning to human beings' expanding ambitions. At the end of the film, when everyone is thinking about the future, the politicians who have torn off their hypocritical skin care about not the continuation of human civilization but the pleasure of endless women and no longer loyalty. The human beings in Kubrick's films are small and sad. The world is driven to destruction by the absurd war, and human beings only care about the primitive desire to live in fantasy.
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Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb reviews
