How I Learned to Stop Worrying and Appreciate the Historical Context

by Katrina Bertz

Dr. Strangelove does the extraordinary thing that film comedy tries frequently, yet rarely accomplishes; which is create a platform on which an audience can discuss important issues, while making you laugh hysterically at the same time. Released in 1964, the film delves deeply into the politics of that time. It is a satire of the American fear of nuclear war between the U.S.S.R. and the U.S.A. Boskin says that "humor provides an unusual historical ray into the complex connection between society's concerns and issues," (Boskin, p.1). By that standpoint, Dr. Strangelove reflected society's fear of the bomb and how the future of mankind has been placed in the hands of a few, idiotic men.

Joseph Boskin, when discussing humor and why it is funny to a particular society, he states, "For to be understood and possess meaning, humor must relate to the customs, symbols, and experience of the people. In Dr. Strangelove, this can first be seen through the very names given to the characters. The insane Air Force General is nammed Jack D. Ripper, while our protagonist is named Mandrake. The soldier who is carrying the bomb to Russia is named Major "King" Kong, while the Nazi doctor in the wheelchair is the titular Dr. Strangelove. Each of these names resonate with the audience because we all are aware of them and their connotations, which makes them funny, yet satirical.

In the first half of the 20th century, the idea that comedy could be viewed as important as drama was not generally accepted. This changed during the 1960s, as "scholarly interest initiated a series of international conferences," (Boskin, p.4) and encouraged students and professors to analyze comedy as they would any other category. While satire in comedic films had existed well before the 60s, Dr. Strangelove could be seen as a product of this scholarly interest. A movie such as this may not have existed in any other decade due to it's content. However, as the 60s was a period of such change, this allowed Kubrick to explore such political humor.

One way that this film manages to create such a political satire is by covering it with outlandish scenarios. "In this sly way, humor confronts reality by wrapping it in a showy package, disguising it's contents," (Boskin, p.3). This can be seen through Major Kong, straddling the very bomb that will end the human race, riding it like a bucking bronco. It's funny because it's absurd that Kong would be able to straddle the bomb in mid-air. But the humor of it masks the notion that all of humanity, at that time, was straddling the bomb and laughing all the way to their deaths.

Boskin also talks about the 20th century and it's humor by claiming "In the latter half of the century, the flow of people's humor accelerated exponentially. Reacting to rapidly changing social mores and institutions," (Boskin, p.5). This can be seen through the use of Dr. Strnagelove and the "doomsday device." The Nazi doctor, after learning of the device, says that to make such a device would be pointless unless the public knew of it's existence. To which the Russian ambassdor informs him that they had planned on informing the public, on the Premier's birthday. This is funny, because it harkens back to something all audiences understood; the element of surprises and birthdays. What makes it so bitter is the fact that the characters would think that would be something fun to do in celebration; threaten the public with radioactive annihilation.

The end of the film sums up the mentality of the 1960s audience and their fears by showing a series of nuclear bombs exploding while Vera Lynn's "We'll Meet Again" plays. Throughout the film, we are laughing at the utter ridiculouness of the situation, however it may not have been so far-fetched during the time it was made. The sentiments reflected a need to aleviate some of the stress of possible nuclear war. Kubrick saw the fate of mankind in the hands of (literally) two men and chose to show America what happens when we give too much power to war-frenzied politicians and insane soldiers.

Boskin, Joseph. "History and Humor." pp.1-6