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His first film Killer’s Kiss dealt with greed, masculinity and the decline in human relationships. His second feature, the superior heist film, The Killing dealt with man’s inherit goal of greed, while his third feature, Paths of Glory, reflected an anti-war sentiment that man was more destructive than any machine. In Dr. Strangelove, he concludes that man and his machines will lead to the end of the world. Almost every movie after Dr. Strangelove explored the dark side of human nature. Kubrick’s masterpiece 2001: A Space Odyssey, dealt with similar themes on the perils of technology and the evolution of man. Clockwork Orange, The Shining and Full Metal Jacket all explored the dark side of the human psyche and the violent nature of human beings. Alex is conditionally altered by science and technology to cure his sociopathic behavior. Jack Torrance slowly loses his mind when he is stuck with his family inside a hotel in the winter months and Private Joker is systematically conditioned to become a killer within the military hierarchy. Clearly in each of his films, Kubrick was stating that violence does not solve violence. After a close analysis of his filmography, it becomes more understandable how the process of setting out to do a serious Cold War film could turn into a black
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A switch to satire proves much more successful and the film treads a fine line between bad taste and powerful comedy. The scene in the war room where President Muffley must attempt to communicate the impending disaster via a telephone call to the drunken Russian Premier at a noisy party is played perfectly. The potentially horrifying confrontation is immediately defused by the Premier’s accusation that Muffley never calls for a friendly chat anymore. One of the best lines in the film sums up the absurdity of nuclear arms race and deterrence. Upon seeing General Turgidson wrestle with Soviet ambassador, the President informs them, “You can’t fight in here! This is the war room.” Kubrick’s film is a timeless classic that is still relevant in terms of the United State’s foreign policy, the battle against terror and the hunt for weapons of mass destruction. Almost every Kubrick film incessantly probes the existential questions,” where we going and what is our place in the
A switch to satire proves much more successful and the film treads a fine line between bad taste and powerful comedy. The scene in the war room where President Muffley must attempt to communicate the impending disaster via a telephone call to the drunken Russian Premier at a noisy party is played perfectly. The potentially horrifying confrontation is immediately defused by the Premier’s accusation that Muffley never calls for a friendly chat anymore. One of the best lines in the film sums up the absurdity of nuclear arms race and deterrence. Upon seeing General Turgidson wrestle with Soviet ambassador, the President informs them, “You can’t fight in here! This is the war room.” Kubrick’s film is a timeless classic that is still relevant in terms of the United State’s foreign policy, the battle against terror and the hunt for weapons of mass destruction. Almost every Kubrick film incessantly probes the existential questions,” where we going and what is our place in the