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

hi the first sentence of this video is a lie did I just tell you the truth I mean I just told you that I was lying if the first sentence of this video is a lie is false then the first sentence of this video is true I was lying to you but if I told you that I was lying and I was telling you the truth then the first sentence of this video is false so if it's true then it's false but if it states that it's false and it is false then it must be true huh bit of a headache welcome to burdens bridge gene burden was a French priest and one of the most influential philosophers of the late Middle Ages aside from revising Aristotle's theory of motion he's probably best known for his version of the liar paradox and it goes a little something like this socrates wants to cross a river and comes to a bridge guarded by Plato Plato says Socrates if in the first proposition which you utter you speak the truth I will permit you to cross but surely if you speak falsely I shall throw you into the water Socrates replies you will throw me into the water 700 years later philosophers still can't agree on an answer to that as a matter of fact they haven't even agreed on the answer to the very first liar paradox is spoken by a poem in ''tis in 600 BC and he didn't even mean it as a paradox dude was just talking about Zeus 2600 17 years but we still can't agree on an answer when most people think of a paradox I think they think of it as a kind of riddle a deliberate logical helix posed as an argument to mislead whoever it was posed to a game but there is one massive infinitely important distinction between a paradox and a riddle one that Phila tiss of costs understood Philip this study paradox is so intensely particularly the liar that he actually stopped sleeping and starved to death his epitaph read Phil ah--this of costs mi twas the liar who made me die in the bad nights cost thereby now you could say maybe dude took it a little too seriously but Phil it is understood that the true difference between a paradox and a riddle is that riddles can't hurt us paradoxes can because Humanity is a paradox every cornerstone of our existence the reasons we create the things we do the reasons wars begin an end the reasons intellectual revolutions are sparked and stifled all share their foundations in the paradox Phil it is God what a lot of people still don't humanity doesn't make sense and it's scary as hell and I don't think any director understood this better than the Boy Wonder himself Kubrick nor do I think any film illustrates this better than his 1964 masterpiece dr. Strangelove a film about a paradox illustrating humanity as a paradox that exists itself as a paradox within film a paradox within a paradox within a paradox huh like I was saying paradoxes are big scary because we're living in one and I'm gonna spend the next however long I feel like talking cool about it so put on your thinking caps and strap in I'm really smart and this is dr. Strangelove or how I learned to stop worrying and love the paradox [Music] alright so I'm gonna get this out of the way from the jump doctor strangelove is the best Kubrick film I don't care if you disagree I don't care if I Bert or Siskel or kale disagree Strangelove is the peak every film Kubrick has ever made addresses the paradoxical nature of humanity but it's always with a microscope to one of its faults and one of its strengths wrath and compassion empathy and callousness the immense strength and constant buckling pressure of consciousness autonomy versus the restriction of it K Breezies done at all-but Strangelove sits dead center tackling them all at once with broad viciously clever strokes on my big list of bricks best flicks it is sat comfortably at the top next to its younger brother Barry it is the best not saying it subjective just letting you know that's the energy I'm coming with anyways before Kubrick started a film Lolita the world stage was in the second act of its most terrifying performance yet the Cold War Kubrick convinced like many others were that the world might truly end with a nuclear holocaust began reading literature on the subject of nuclear warfare particularly after the Berlin crisis of 1961 when the Cold War almost turned into a hot war by the time they had wrapped production on Lolita he had read over 50 books on the subject most notably Herman Kahn's book titled on thermonuclear war nearly every film Kubrick has done has evolved from a personal obsession with a subject and his pursuing literature based on it and this was no exception except this time the obsession was based in fear at some point I'm a little hazy on the date here Kay Brix was recommended Peter George's novel red alert by a friend of his at the Institute of Strategic Studies and he loved it convinced that it would make for a perfect suspense thriller Kubrick and James B Harris cop the screen rights and began translating the bulk of the book into the first script for their doomsday drama the delicate balance of terror not long into the writing process though Kubrick began to realize just how paradoxical and grim the circumstances humanity had put itself in work and how funny they were all right I'm not gonna explain the entire Cold War to you unless you want me to but basically humanity was at the edge of its seat with a big red button that said fin on it and all the big boys from Stalin to Eisenhower to Kennedy to Castro to Khrushchev took turns hovering they're shaky hands over it a good example of the sheer level of paradoxical clown world [ __ ] humanity reached in the 60s is the US and NATO stated foreign policy during the Cold War called massive retaliation in short if any conventional military movement was detected against the West not nukes but just like normal soldiers the US would start the end of the world that was the actual not joking real public stance of the world powers at the time once Russia was able to respond to a nuclear attack the US of A decided to kind of bargain two-for-one deal the massive retaliation thing I just mentioned with a snappy little paradox of a deterrence strategy called Matt which stood for mutually assured destruction the basic idea being that if both the east and the west have enough nukes to completely destroy the other side and that if attacked for any reason the others would respond without fail with the totality of their force the expected result would be an immediate irreversible escalation of hostilities that would culminate in the destruction of the world powers if not the world to make this doctrine work though the u.s. had to not let Russia think it was willing to risk a second strike so naturally they refused to build fallout shelters for their citizens ever wonder why a lot of European countries have big [ __ ] bomb shelters and the closest thing we ever got to that with some old history role-playing games that's why literally gambling the entire population of the country on I bet you think we're scared well we're not which doesn't even make sense because Kennedy ran on lying about Russia having superior nuclear power to garner fear and justify military funding while insulting the Eisenhower administration's lack of commitment to nuking commies when in reality the u.s. peaked at like a 17 to one warhead ratio in our favor and you know what the goofiest part of all that [ __ ] is it worked it still works humanity does not make sense anyways you can see how it was impossible even for a master of drama and suspense like Kubrick - honestly present the reality of the situation with a straight face so he decided not to thinking of who could help him co-write a comedy screenplay about the end of the world only one name came to his mind Terry southern during the filming of Lolita Peter Sellers had given Kubrick a copy of southern satire comedy The Magic Christian and Kubrick adored it flew to Shepperton studios not long after and what followed was one of the most biting and iconic satirical scripts ever written which begs the question how do you create a comedy about nuclear devastation especially when you've never made a comedy before I mean Kubrick isn't exactly Mel Brooks dr. Strangelove is the only comedy in his filmography so how do you make it play funny Kubrick's brilliantly simplistic answer to that question was don't try to make a comedy which brings us to our second paradox that is to say the first paradox is the film subject matter the paradox of nuclear deterrence the second is the film itself Strangelove doesn't make sense I don't mean narrative Lee but I mean structurally it is a comedy that is not written performed lit edited shot or scored like a comedy to allow for the proper depth of shadows while filming on black and white Kubrick had to forego soft lighting completely in favor of extremely hard and dramatic lighting think um Carol reads the third man or Billy Wilder's Sunset Boulevard super super hard lighting characters feel like they're emerging out of the shadows when they come into the foreground they lit a comedy like they were shooting a noir so whatever exuberant atmosphere or tone you could hope to create for comedy immediately went out the window Kubrick also opted to shoot exclusively with ultra wide lenses and I mean ultra wide 50 millimeter lenses most closely resembled the focal length of the human eye ozune used these often times for an entire film because he liked to give a very human feeling to his shots Strangelove on the other hand was shot almost entirely in 14.5 millimeter with a bit of 28 millimeter thrown in as well not only does this offer an incredibly wide view of the film's characters and the absolutely cavernous set that can atom designed for them it also gives the impression that no one in specific is ever InFocus with the exception of a few extreme close ups during dramatic Peaks the objects in dr. Strangelove get more individual focus than the characters do and that's kind of the opposite of how directors usually execute comedy what I mean by that is all right so here's a scene from Greg Mottola super bad check aside we have no choice but to look at what's funny here cops are being childish in fighting we can't see McLovin or almost any of the car's interior because right now that's not funny we see elbows and up on these two characters specifically because they're the goof in the audience needs to know it cut to an exterior shot to remind us that they're still driving a car but the shot is so tight the only thing we're able to focus on are still the two characters they're still the goof cut again for the sake of continuity to remind us that the two protagonists have been arguing this whole time and then we immediately get two cuts on action two reaction shots and then another cut on action cut to super shallow focus Michael Cera playing his classic deer in the headlights what's new cut to a shot of the alcohol they just worked for like an hour of the film's runtime to obtain flowing onto the street cut to each of the silly cops because they're still silly and then the final two cuts from - that mclovin the dynamic duo's begrudge it in possibly autistic companion has been in the backseat the whole time why are we only seeing him and focused now because now it's funny to see him he's only in the previous shot out of necessity and while he's in frame he's out of focus Seth Rogen lightsaber cop is the big yuk here please look at Seth Rogen lightsaber cop but in this shot Mottola wants us to pay attention to him McLovin is to crescendo now let's look at one of the comedic peaks in Strangelove there is a man of the people but he is also a man I said you can't fight in here this is the war room what is going on here I demand an explanation yeah you bet your sweet smirk ami look at this mr. president allow think ami right was taking pictures with this thing on the big board this shot starts with the camera penning along with the Russian ambassador Alexey into the middle of the war room it's already been established that there's tension between turgidson and Alexi but neither is centre frame and neither is isolated as the only character in the frame since the beginning of the shot it once turgidson does fall into center stage he immediately turns his back to us in Alexi begins dialogue with the president on the opposite side of the frame now we aren't sure who to look at nothing is the focal point so everything becomes the focal points turgut's and mumbles and insults about Dmitri the Russian premier but even when Alexi confronts him about it and they start to argue they're still sharing the frame with the president and all three are talking over one another perpetuating this atmosphere of nothing in particular being something we should focus on camera pans away from Alexi in turgidson as the president is called over to answer the phone and only then do they start fighting we can hear them struggling but the only visual information we're being given is the president turning around to look at them with 11 other characters even though narrative Lee were drawn to the president at the end of the shot he's reacting the same way everyone else's visually nothing is done here to pull our focus to him and he stays to the far right of the frame until Kubrick cuts cut to a shot of turgidson and Alexi struggling the camera first panning left in the dulling Ford once again arguing over one another so neither character can be taken as the focus of the shots and a finally president monthly interests frame right and utters the paradoxical satirical zenith of the you can't fight it here this is the war room and yet we have one two three four five six characters in frame no extreme close up or even close up with the president when he says it no close up or medium shot of the characters reacting to it everyone plays it straight including the camera even in the following shot of targets and clutching Alexei while he shows the president the spy camera both characters in frame have very distinct facial expressions and reactions to the situation and neither are occupying more than half the frame if anything the point of focus in this shot is the object not the characters this is actually a very common theme in this film like I said earlier the objects the characters interact with have more extreme close-ups than the characters themselves and even in other communicate pecs is like the following phone conversation president muff lee has width dmitri the shots rarely focus on just whatever character is delivering the funny line again here visually neither character is in or out of focus and neither occupy more than half the frame most of the comedy noises in the film with the exception of a few are not framed like they're supposed to be funny or even of particular importance for that matter this extends to the delivery of the lines as well every character plays it straight and reacts as of what they're saying and doing is completely rational given the circumstances turgidson and ripper are no exception to this they fall on the more extreme side of the spectrum sure but every line is delivered like the characters genuinely mean it's body language facial expression vocal inflection everything when you combine this with Kubrick's use of wide and full shots sparing cuts and extremely steady camera movement whenever we're away from the soldiers in the film Strangelove feels natural and the more naturally it's presented to us visually the more absurd it becomes after rippers announcement to his base every shot featuring a soldier in dr. Strangelove is filmed with Kubrick's Arriflex 35 - which was a handheld combat camera this gives a sense that there are two separate states of being in the world Stanley is presenting us those who are inside and those who are outside inside the war room there might be sort of a comp anak sure but muff Lee and Alexei and turgidson and Strangelove and all the others are not the ones in immediate danger the soldiers are those who are inside and those who are out this is seen in the interior of the b-52 as well granted this may have partially been due to the technical limitations of filming inside a cockpit suspended 15 feet off the ground since no Steadicam but this lack of composure and the cameras movements reflects the emotional turmoil within the characters and the shots Kong and Ace and SOG and the others in the b-52 will be the first to go and Kubik lets us know before they know the burple tener Minh as well as the soldiers storming the base know they'll probably die all of the steadiness and the smooth pans and the dolly shots all of the glamour and composure of the inside is immediately stripped away when we're put into the shoes of the soldiers when we're forced outside and it all comes rushing back when we're back in the war room or Ripper's office or the hallways of the base with Mandrake in Guana the film pulls us between outward and inward chaos constantly convenient innuendo segue into another paradoxical theme of this film sex when you look back through history there are two things humanity seems especially invested in those are sex and war whether it's Renaissance or neoclassical or neo-impressionism or Orientalism or German Romanticism you can pick pretty much any art movement since we moved past painting on cave walls and I can guarantee you that the most common imagery you'll find is warriors and nudity this isn't limited to visual mediums either pretty much universally every mythos and religion that has ever existed is firmly planted in fertility and war Zeus is a good example since I brought him up the start of this video as indirectly being the source of the first liar paradox strongest God top gun top dog big dog big dog on the mountain top got also a bisexual serial rapist with 92 children Shiva responsible for kama sutra also known for their ability to destroy the universe by merely opening their eye I think Odin had like six sons from three different wives one of them being a giant a horse had like four you get my point oftentimes the source of war can be traced back to lust and vice-versa lust or sexual Envy and inadequacy can drive a human's heart to commit atrocities it normally wouldn't and the spoils of those atrocities oftentimes were sex we see this mirrored in the opening credits of the film a b-52 refueling sequence set to an airy orchestral rendition of try a little tenderness arranged by Lori Johnson this overtly sexual imagery chosen specifically by title designer Pablo Ferro for its sensuality perfectly encapsulates the inseparable 'no sex into war Flying Fortresses of death carrying the most more Tiferet evil weapons man has ever created and yet there's something elegant and graceful and disarming about them a Kubrick and Pharaoh assure us into the film using this mechanical copulation as our first metaphor for the paradoxical nature of humanity and it works beautifully and more than beautiful it's consistent this theme is maintained throughout the entirety of the film sexual inadequacy is Jack the Ripper's sole motivation for his preemptive strike against the Russians convinced that the Communists were contaminating America's water supply with fluoride and that this was the reason he wasn't able to stay hard buck turgut's ins childlike approach to and enthrall meant with tracy Reed's character miss Scott's the Playboy prints that plaster the inside of the bomb crews lockers major Kong writing a nuclear warhead to his death gripping on to it like it's burning potential is at the same time an extension of his manhood Strangelove describing the logistics of the elites mineshaft harems as the world is seconds from ending the end of all humanity in human history as we know it indirectly ushered in by the source of all life [Music] I mentioned the scoring of a film briefly there and I think it's an opportune time to bring up why it - is deliberately paradoxical aspects of this film I just explained what the intro scoring is but there are actually only two other pieces of music in the entire length of this film roughly an hour of its runtime features no scoring whatsoever actually no correcting myself here you could make the argument that there are four pieces of music in this film I am now going to make that argument so the second piece of music we hear is about ten minutes into the film when major Kong has given the go code and puts on his cowboy hat the melody playing here also arranged by Laura Johnson is probably pretty recognizable if you live in the West or consumed pretty much any western media at all ever it's the 19th century American folk song when Johnny comes marching home or is it see there's another 19th century war song sung to the same melody known as Johnny I hardly knew you here's the issue though the arrangement that's playing in every scene featuring major Kong and his bomber team following this one until the end of the film doesn't feature lyrics it's only the instrumental but the songs have completely contradictory meanings when Johnny comes marching home was originally written by Patrick Gilmore during the American Civil War for his sister Annie to sing as she prayed for the safe return of her fiance it's a pro war song about a town being elated with the return of their soldier to hear his stories of victory lauding him as a hero whereas Johnny I hardly knew ye is a staunchly anti-war Ballad of an Irish woman who meets her former lover that had a band her with their illegitimate child to go to war she finds him permanently in irreparably damaged by the war having lost his legs his arms and his eyes and the fighting she takes pity on him and welcomes him back as her lover but the damage has already been done so which one is it is it pro war is it anti-war is the music rooting for the bombing team or is the music and by extension the audience condemning them in their folly the answer you guessed it is a bit of a paradox about an hour and 25 minutes into the film we first get to see the yield the b-52 has been carrying in this shot of major Kong trying to manually repair the bay doors notice the twin warheads and what is written on each of them hi there and Dear John when Johnny comes marching home the left warhead is the elated greeting that follows the end of the song welcoming soldiers back home for a job well done appropriately this is the warhead major Kong famously plummets to his death on the warhead on the right however is a letter to John Johnny I hardly knew ye a condemnation of war out of pity for those who suffer through it from the perspective of those who wore leaves behind both of the songs are playing at the same time this is where the outside and the inside meet notice the shift in stability of the camera here panic panic panic calm only in the meridian of the bomber teams arced the crest of their half of the narrative do any of their members feel at peace and it's calling right before his death the outside in the inside if I ever had to condense the sentiment of those anti-war protesters you see every so often into a single marriage of vision and sound say 30 seconds in length this would be it this moment and the one following it to songs which completely juxtapose one another arranged to the same melody weaving themselves into double helix of contradiction and pride and empathy and condemnation and then they stop finally this brings me to the ending virile ends rendition of will meet again with backing vocals from the sailors soldiers and airmen of Her Majesty's forces one of the most iconic musical conclusions to any piece of cinema ever better than simple minds at the end of The Breakfast Club but better than Gary Jules of the end of Donnie Darko maybe not better than John Williams ending score for et but close really really really really close what makes the ending of this film so special is that it's the first time Kubek shows any kind of optimism or hope in the film I don't mean from characters or the lines they deliver there's actually quite a bit of blind optimism in this film but I mean in the way the film is presented to us this is the solitary moment of genuine hopefulness dr. Strangelove bellowing out that he can walk immediately followed by the assumed end of all human life on earth this is the only point of perceptible believable optimism in the film let me explain why every point in dr. Strangelove where a character expresses optimism there runs a very important very noticeable through line that Kubrick and Co diligently placed in just the right spots to ensure that we never believe a word of it that is every time a character expresses optimism in this film they're lying either to us or to themselves the camerawork or the lighting or both shows us that it's either malicious or self deceptive we either know they're lying to themselves and feel pity for them or we know their ideal is one without empathy but one we don't have a choice but to go with they know their efforts are pointless their brain is just doing a miraculous job of trying to hide it from them or it's not actually a desirable outcome it's just the only one that they will allow us to have probably the best example of this is Jack the Ripper explaining why he issued and refuses to recall wing attack plan our two group captain Mandrake the moment Mandrake realizes the only way out and the only way to stop the attack is through Ripper he is at his smallest and least significant that we see him in the film while Ripper is at his largest Ripper sits with complete composure in the shadow cast over him by the hard lighting of his overhanging desk lamp while Mandrake meek and afraid stands illuminated at the opposite end of the room dwarfed by the upper torso of a man he has now convinced needs to be taken at a power without being told directly the audience is given the outcome of this exchange before it happens after Mandrake approaches and demands Ripper stepped down from power and hand him the recall code Kubrick cuts to an extreme low angle close-up of Ripper the hard lighting from before casting shadows down his face like a titanic statue looming over us we don't even need to see the gun on his desk that Kubik cuts to you after holding this shot for a few seconds this shot alone without Ripper saying a word renders Mandrake in the audience powerless and this is where the voice of Maleficent optimism brings in Ripper as he explains why attacking the Russians without consent or approval or cooperation from the rest of the government or military is somehow the rights in good thing to do the angle and lighting of the shot punctuating every word with a simple message this is not hope this is the world being held hostage sure it technically fits within the descriptive boundaries of optimism but Kubrick keeps repeating to the audience that it's dangerous for us to believe a word of it Jack D Ripper is our paranoid captor compare this to one of the delusional optimists of the film major Kong once he grasped that for them to receive the go code most if not all of his friends and family and country were swallowed by nuclear hellfire he switches into what I like to call phantasm mode basically when you reach a state of despair or panics so great that your brain doesn't know how to handle it properly and following its prime directive of not letting you die or let your consciousness collapse and on itself creates the illusion of a light at the end of the tunnel one that it refuses to let you acknowledge isn't actually there this is the best way I can think of to describe Kong justifying their use of nuclear warheads against the Russians and then following it up by saying he and his bomber team will be in line for medals and awards when they get home a home he just told them was gone it's mental gymnastics at their finest and up until about the last two minutes these are our only other tastes of optimism in the film malice and self delusion everything everyone ever says in the film shares a doom one that we're made aware of by the way cubic structures and presents the information to us until right here just this last little stretch of runtime turgidson just ruined whatever chance of post-apocalyptic diplomacy the cave Americans and the cave Soviets could have had muff Lee and the others are still distracted with the fantasy of ten-to-one waifu ratios for their cave harems and the closest thing we had to a team of are dead or will be very soon everything shapes up to be the perfect self damning end to a tale of the hubris of man in all our boundless expertise in making life hell for ourselves but then something happens strange love drawing all of the attention in the room to him stands up the quietly calamitous Doctor Doom that has spent most of the film in the shadows is finally freed from his imprisonment and for whatever reason we feel kind of happy for him there's nothing to snark at or criticized after turgidson 'he's brainless ramblings about a mineshaft gap or interrupted a genuinely evil man who moments ago was discussing cave eugenics as a net positive for humanity while most humans are about to be wiped off the face of the planet can walk and he expresses joy he's hopeful he's exhilarated and it's genuine Kubrick pulls the through-line out from under us like a ripcord and for these few seconds we're experiencing joy after two steps the nukes drop and the end of man is ushered in with joy and warmth and I don't mean heat from the bombs either we'll meet again particularly this rendition is like a wave of comfort and revelry that washes over you and compounds this brief feeling of joy we just experienced for the first time in an hour in 32 minutes they were laughs sure but they were bitter and fearful remember this film came out when this was all still plausible every subject of comedy and Strangelove is just the genuine fears of humanity at the time being pulled out of the dark to laugh in the face of because they're too absurd to respond to with anything else and no better song could play us off of it we'll meet again is from Philip Brandon's 1943 musical bearing the same name it about a young singer rising to stardom in the height of world war ii the plot of the musical itself isn't particularly important but it is important to understand its cultural relevance as a propaganda vehicle like many other propaganda vehicle films its lead song became a hit for the war effort it will meet again was sung from the streets and from the windows and the balconies to soldiers departing for war against the axis and became so resonant with the British Armed Forces and their families that in the height of the Cold War it was included in the package of songs and programs held by the BBC to be played from radio broadcasting bunkers designed to provide public information and boost morale for at least 100 days after the nation suffered a nuclear attack it was chosen as one of humanity's security blankets more than comforting its optimistic when you look at the lyrics of the song it's the parting word someone would speak hoping beyond hope that their time apart from you is only temporary a tender reminder to keep your hopes and your ambitions about you no matter how much the clouds might darken the other two uses of music in the film are paradoxical in their nature but in a wholly different way try a little tenderness playfully digs at the trope of sex in war being inseparable fixations of man and the double feature of when Johnny comes marching home and Johnny I hardly knew ye expressed the juxtapose but nonetheless intertwine sentiments of hating war and loving those who serve in it but Kubrick ends his black comedy satirizing the very real sword of Damocles hanging over humanity's shoulders by simply playing for us words of comfort and compassion in hope and this is just a hunch but I think he needed to hear them too I mean this entire film is born out of his conviction that we might not exist soon just waiting under the sword for something and that sword never left if anything it just got bigger but the grip tightened any minutes of any day of any year someone could usher in the end of the world that's what makes dr. Strangelove's ending so poignant and at the same time comforting Kubrick's two-minute love letter to humanity at the precipice of extinction that somehow someway despite the almost paralyzing fear and absurdity that were forced to hang in the balance of everyday will be alright humanity's should not have logically existed for as long as we have it doesn't make sense xeno in phil attests and Crispus and Kant's and Confucius and human Berkeley in al-ghazali and Ronde and Zhu and Hobbes and hippo and Montesquieu and every other great mind from the beginning of humanity right now still can't agree on how or why we are the way we are somehow despite endless hurdles of self-imposed destruction through war and segregation and racism religious and political zealot Ryann's inna phobia and disease and drought and fire and floods and nuclear fission turn onto our own in the peak of our desperation we keep growing from anguish and sorrow and pain we capture beauty and ecstasy and from our fears comedy we create great big things and help those suffering and those who cannot fend for themselves despite every bit of rational thought standing firmly against it it we are hard-wired for combat and self-preservation but at the same time our resting pulse is nurturing others and putting the needs of whoever or whatever we care about above our own selfish ends Strangelove is in a constant balancing act between two completely opposing lines of thought that are constantly at war with just like humanity and yet somehow we're still here somehow we'll be okay the paradox [Music] to tell him please stupid on speed hey thanks for watching my my video here I appreciate it yeah that's for you bullet points got another cool video click that IV like this subscribe please let me know what you thought about what I thought down below and patreon if you feel like helping support the channel and helping me make more slick vids like the one you just watched consider becoming a patron every little bit helps me make this thing a full-time gig all right love you have a good night [Music]

Channel: BREADSWORD

Views: 692,331

Keywords: Dr. Strangelove or How I Learned to Stop Worrying and Love the Paradox, Dr. Strangelove video essay, Dr. Strangelove analysis, Dr. Strangelove review, Dr. Strangelove, BREADSWORD, Kubrick film essay, film analysis, kubrick analysis, kubrick review, Full Metal Jacket review, Kubrick video essay, Full Metal Jacket, dr strangelove well meet again, stanley kubrick behind the scenes, video essay channels, dr strangelove riding the bomb, dr strangelove ending, dr strangelove trailer

Id: jlkt5Q9a9Ek

Length: 37min 28sec (2248 seconds)

Published: Sun Jan 07 2018

Reddit Comments

[u/Mavromatis]

Youtube just cut the video and disabled it. Thanks to "Sony Pictures Movies & Shows"

[u/BertVimes]

Well worth a watch for some unpacking of the film's interesting qualities which aren't obvious if you're not much of a film nerd. Not sure about some of the subjective waffle about the real world, but after the first minute or so it dies down and concentrates on the good stuff!

[u/breadsword]

Aaaaa thank you so much for posting my work! I appreciate it immensely!!!

[u/hirrok]

HELLO DIMITRI????

[u/laribug]

Would love to see this I hope you can dispute the CR claim :babyrage: