This afternoon I decided to revisit Dr. Strangelove: Or How I Learned To Stop Worrying and Love the Bomb, co-written and directed by Stanely Kubrick. This cold war classic was remarkable for its originality and dark comedy. "After all, we don't want to start a nuclear war unless we have to now, do we?" (Peter Sellers as Officer Mandrake)It's hard to pinpoint the film that put Kubrick on the map as a director, but certainly all of his works demonstrate the power of his vision and unique genius. His films are both distinctive and daring.
One of my current top ten films of all time is Kubrick's Paths of Glory. It may have been the first film I wrote a review for on the Internet Movie Database. The following review is posted there, and at the end of this blog entry you may link to my reviews of several other films.
Early Kubrick film displays his profound skills of storytelling in film in remarkable and poignant World War One film.
I have placed this early Kubrick anti-war statement on my top ten list both for its originality, great acting, compelling story line, plot twists, and surprisingly beautiful and inspired ending. This one is a heart-breaker account of a moment in history that repeated itself endlessly in that horrific bloodfest called the trenches of World War I. To some extent Kubrick returned to the theme in various ways with Full Metal Jacket, but Kirk Douglas as Colonel Dax is perfect here, demonstrating the challenge of maintaining honor within a system that has turned values on its head. It is a crisis in the life and career of Colonel Dax, who has lived by the watchword of Duty with a capital D throughout his career, but has remained idealistic and faithful to his men. The army's absurd effort to capture "the Anthill" results in a tear in the fabric of his idealism. The ugliness he sees is an eye opener for both Dax and the audience, who sees the truth with tragic clarity.Colonel Dax, identifying with his men, is an inspiration in contrast to an empty culture of power and prestige with no ethical base.
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