I can still remember sneaking into one of those old Broadway movie palaces (of the sort you can see in Edward Hopper’s classic painting) with two friends. It was 1959, in the midst of a global “Cold War,” and I was 15 years old, too young as I recall to be allowed in to see Stanley Kramer’s On the Beach without a grown-up.
We sat in the first row of the balcony (it was a thrill!) and watched the movie version of Neville Shute’s 1957 novel about — yes, there’s no way to prettify it (though a cast including Gregory Peck, Ava Gardner, and — a blast from the past — Fred Astaire didn’t hurt) — World War III. As that movie opens the northern hemisphere has been totally nuked and wiped out, while the fallout is now being carried south — the film is set in Australia — and will, sooner or later, extinguish the rest of humanity, including Peck, Gardner, and Astaire.
And no, it didn’t actually happen (not yet anyway), but like TomDispatch regular Andrew Bacevich, author most recently of On Shedding an Obsolete Past: Bidding Farewell to the American Century, I grew up in a world whose end seemed eerily in sight. After all, as he reminds us today, On the Beach was just one of so many end-of-the-world movies, books, and magazine articles of that “duck and cover” era.
In our present world, some sixty-odd years later, no schoolchildren are taught to save themselves from atomic destruction by leaping under their desks, hands over their heads. We’re in a world where “the end,” the potential dystopian finale of human civilization via the fossil-fuelized overheating of this planet, won’t come in a moment. No ducking and covering like Bert the Turtle of my school childhood years when climate change is the culprit. But cheer up, as Bacevich suggests, those old nuclear war films may still have something to teach us in the Ukrainian moment of the twenty-first century. Tom
On Missing Dr. Strangelove
Or How Americans Learned to Stop Worrying and Forgot the Bomb
Bosley Crowther, chief film critic for the New York Times, didn’t quite know what to make of Dr. Strangelove at the time of its release in January 1964. Stanley Kubrick’s dark antiwar satire was “beyond any question the most shattering sick joke I've ever come across,” he wrote. But if the film had its hilarious moments, Crowther found its overall effect distinctly unnerving. What exactly was Kubrick’s point? “When virtually everybody turns up stupid or insane -- or, what is worse, psychopathic -- I want to know what this picture proves.”
We may find it odd for an influential critic to expect a movie to “prove” anything. Kubrick’s aim was manifestly not to prove, but to subvert and discomfit.
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