All About Eve (1950): Life in the Theatre

All About Eve (1950)

Introduction

As the swansong for Bette Davis All About Eve (1950) highlights the intricacies of the theatre like no other. It highlights all the players in the theatre and has to go down as one of the best ensemble pieces ever put to the screen. Written and directed by Joseph L .Mankiewicz and produced by Daryl. F. Zanuck for twentieth century fox, this film has several important thematic elements that justifies its place in the pantheon of great films. The thematic elements include rites of succession and  how the predecessor or the one being succeeded finds it difficult to release the reins of power and to what extent successors are prepared to go to seize the reins of glory. The standard set by the predecessor represents a stepping stone for the successor who naturally aspires to attain the same level of success or even more. In order to dislodge the reins of power from the predecessor the successor in this case must be ruthlessly ambitious for the one they plan to supplant is beloved and adored although age has finally caught up with her. In this film the predecessor or standard bearer is Margo Channing (Bette Davis) and her eventual successor is EVE Harrington (Anne Baxter) who uses devious means to seize the reins of stardom. She is not alone however as she is aided by other characters in the ensemble cast who lead her along the path to conquer  her older rival and this is one of the reasons why the screenplay can be considered smart since all the various personalities have a hand in the story and ultimately work against Margo. The film also addresses the role of the critic in the art industry. In this case it is the theatre but it can easily apply to other artistic areas such as film, music and still art. The critic is normally the one who sees beyond the façade portrayed by the artist in the public eye. The success of the artist is determined by how much they can dazzle the public and attain some degree of artificial glory on earth. In order to do this the artist must find some way to captivate his or her audience in the particular genre in which he or she hopes to excel. This normally means they have to add a new face to the same subject and infuse it with some new vibrancy or they seek means to supplant their predecessor(s) who set a standard in the public eye. EVE in her final performance which is dubbed by Addison as the ‘performance of her life’  sets the stage alight and replaces the now fading star of Margo. The role of the critic is to determine to what extent the artist can get carried away with success. The critic is a check against excess for without the critic, who act in some way as a buffer between the artist and the public, the artist would thrive on his or her artificial glory and would grow so fat on success that it would be beyond the control of anyone else to stop him or her from releasing a low quality of art to the public. In some cases artistes are their own best critics (see my review of Amadeus) for without constructive criticism which can be construed as negative, the standard of art would remain at a very low level. It is important for the professional critic not to be bamboozled by the artist and his or her aficionados unless it is the wish of the public that the standard of art fall or remain the same.  If the work of art retains its high standard then it should be justly praised and if it is of a low standard it should be rightfully rebuked and purged. Never forget that at times it is the artist that is the best critic so that they can give shape to a new form of art. This is why the character of Addison Dewitt (George Sanders) is instrumental in this film and the advances made by EVE.  The final theme or element of the plot to be elaborated later on in this (ultimate) review is the connection between the theatre and Hollywood. Hollywood is normally associated with more prestige whereas the theatre is seen as mere stepping stone. A good movie can make a star renown forever whereas a star in a good dramatic production of the theatre is still seen as taking the next step forward to Holly wood; it is a mere promising start and nothing more. Wherever the theatre thrives the standards are quite low however a developed film industry is seen as the highest standard in dramatic production as the scale is much more far reaching due to the reliance on technology. The various players in the creation of a dramatic piece for the theatre are almost forgotten when compared to the glory of Hollywood. This review will therefore examine all the various players in this intermediate form called the theatre.

The basic plot of the film shows how Eve supplants Margo Channing through cunning and willful deceit. She is also aided by several characters on her rise to the top; none more important than the critic Addison Dewitt.  Margo also has to adjust to the fact that she is no longer the shining star in the pantheon due to the deteriorating effects of old age. Her other companions also have to get adjusted to the transition that will see Margo decline in the pantheon. Eve is the vehicle that effects the transition and it shows that on your rise to the top you must supplant your competitors. The idealist mentality will not serve you well you must have strong individualist and self preservationist ideas about yourself. Self preservation simply means that you think firstly of preserving yourself over the welfare of the group although once you have preserved yourself there is no problem in turning back to help the group. It is the creed when you seek to attain glory that you have to think of self preservation over your competitors and you do this by defeating them thoroughly. This ruthless ambition is the path taken by Eve and this film cleverly shows how she deceives the group and eventually rises above them leaving them desolate in the world of theatre.

All About Eve was nominated for 14 academy awards (equaled by Titanic (1997)) and won six including Best picture, Best director, Best original screenplay, best supporting actor (George Anderson, Best Sound Recording and Costume Design (B/W). The 14 nominations were important because all the female actors were nominated: Anne Baxter and Bette Davis for Best Actress and Celeste Holm and Thelma Ritter for best supporting actress. It is a record for the most female nominees in a single film.  It defeated the likes of Sunset Boulevard (1950) and there should not be any complaints there since the scope of All About EVE is more dynamic.  It is also famous for Bette Davis’s remark, as Margo Channing at Bill’s party, ‘Fasten your seat belts it’s going to be a bumpy night.’ The film remains relevant for all the themes discussed above and as an able discourse of lives in the theatre. Marilyn Monroe also plays to type (shallow, materialistic female) in this film in a small role as an aspiring actress under the tutelage of Addison.

I highlight EVE’s name in upper case since it is All about her.

Life in the Theatre

The film opens with a synopsis by the critic Addison Dewitt (George Sanders), who explains the context of the theatre and its more low key honours when compared with other artistic fields. The opening scene is also the penultimate scene in the film where EVE is collecting the Sarah Siddons Award for distinguished achievement which, according to Addison, is ‘the highest honor our (American) theatre knows.’  The award is handed out at the Sarah Siddons Society where all the prestigious personages of the theatre come annually to honour the achievement of the artistic performers associated with the theatre. He states that ‘these hallowed walls, indeed, many of these faces (camera highlights old gents to emphasize the age of the theatre which is older than moving picture or film) have looked upon Mojesca, Ada Rea and Minnie Fiske. Mansfield’s voice filled this room. It is unlikely that the windows have been opened since his death (again highlighting how old is the theatre scene).’ He says that the presentation of the Sarah Siddons Award in its dining hall has ‘been spared the sensational and commercial publicity that attends such questionable honors as the Pulitzer prize and those awards presented annually by that, uh, film society.’ This is why it is unknown to you who will watch the film for the first time and this technique is so important for Mankiewicz clearly wishes for you to understand that this is almost an age old tradition in the theatre; this is why a film going audience will be oblivious of it since the popularity of film outstrips the theatre because of sensationalism. The theatre through this society seems to be holding on to the vestiges of its tradition although it clearly does not have the pulling power it once had since the advent of the motion picture industry. If one is ambitious the theatre cannot be the final stepping stone if you wish to attain glory or popularity as it is only one step before you can truly shine in the public eye. Since Hollywood generates such enormous profits it can advertise its products (films) to such an extent where it becomes the new fad and the theatre is seen as something for the old timers, distinguished by the high standards it holds with regards to the performing arts.

 It is the same standard that has been supposedly set by classical music when compared with the populist tendencies associated with commoditized music such as pop, rock n’ roll, reggae, hybrid or electronic, hip hop, rhythm and blues, dancehall and jazz etc.  The high standard associated with classical music is the composition of several musical instruments into a unified whole alongside the sonorous voices of the opera singers  on stage, performing for the audience, which can rarely be matched by pop singers. Some pop singers have high quality voices so it is not surprising to hear them sing in the operetta. (This structure is also exhibited in the African tradition with the use of the drums etc. This too has been subsumed by Dancehall and Reggae under a technological apparatus). With the advent of technology these instruments were assembled and synthesized although early on during the twentieth century they still used live bands. If you use a live band now to record a song you look like you are clinging to an old tradition although it is still relevant to have it on tour. The time will come when live bands won’t go on tour or will recede further  behind the scenes. The people who play the instruments still remain important because they are the only ones trained to play a particular instrument. If they continue to compose new melodies they will always be relevant but not as commercially relevant as those producers on the keyboard etc who take their melodies and synthesize it with other instruments similarly absorbed. They become like professors or retainers of knowledge but still powerless to affect the sensationalism of the craft. They will be consulted but only behind the scenes. This is why it is good to have an artist who can play an instrument since he or she will be bringing forth new melodies thereby making the instrument remain relevant. It is the same with the theatre and film for film utilizes the craft of the theatre and sensationalizes it to appeal to a mass market since technology is involved and is fixed capital for the film studios. The increased use of technology requires that profit be generated since someone has put up a lot of money to expand the scene. Film cheapens the performing arts to create a sensation however it still requires the theatre to exist since the new fresh stars will emerge from the theatre where they would have received the requisite training required to deliver a truly compelling dramatic performance. This is not the case these days as anyone seems to think they can act. In and around the mid twentieth century the best way to prove yourself to Hollywood was to have succeeded at the theatre or some form of stage performance such as stand up singing etc or dance choreography. This would demonstrate the extent your talent was capable of commanding an audience without the aid of artificial technology which would enhance that particular performance. This is why in the theatre the performance of the actor stands out. Today this is why they continue the tradition of the theatre through talent shows etc although they are now assigned to TV shows. Tv shows can be seen as a type of performance for it is supposedly filmed in front of a audience for at times laughs are manufactured by the studios. Look at the character played by Marilyn Monroe,Ms. Caswell, Addison’s pupil, who has failed at a recent audition for a role in a play. Addison tells her ‘Your next move it seems to me, should be towards television.’ ‘Do they have auditions for television?’, she asks. ‘That’s, uh, all television is my dear. Nothing but auditions.’ The most successful person is one who can command the audience. After you’re acknowledged as a certified star in the theatre or in the live performance scene the studios will inevitably gobble you up.   Addison says at the beginning, ‘The minor awards, as you can see, have already been presented. Minor awards are for such as the writer (playwright) and director (camera highlights both, smartly, since they are two main characters in the film itself) since their (main) function is merely to construct a tower  so that the world can applaud a light which flashes on top of it. And no brighter talent has ever dazzled the eye as EVE Harrington (Eve is a performer who will receive all the due recognition for her performance).’

I will get back to Addison as I now speak of the theatre scene. In one of the early scenes where EVE first meets Margo she is introduced to her boyfriend and director, Bill (Gary Merrill), who is about to leave for Hollywood for a one picture deal with the studio owned by, yes, Darryl Zanuck. EVE asks ‘Why you have to go out there?’ ‘I don’t have to. I want to.’ ‘Is it the money?’ ‘80% of it will go for taxes.’ ‘Then why? Why if you’re the best and most successful young director in the theatre?’ ‘The theater. The theater. What book of rules says the theater exists only within some ugly buildings crowded into one square mile of New York city? Or London, Paris or Vienna? Listen, junior, and learn. You want to know what the theater is? A flea circus. Also opera. Also rodeos, carnivals, ballets, Indian tribal dances, Punch and Judy, a one man band, all theater. Wherever there’s magic and make believe and an audience, there’s theater. Donald Duck. Ibsen and the Lone Ranger. Sarah Bernhardt and Poodles Hanneford; Lunt and Fontanne, Betty Grable. Rex the wild horse, Eleonora Duse, they’re all theater. You don’t understand them all. Why should you? The theater’s for everybody, you included, but not exclusively. So don’t approve or disapprove, it may not be your theater but it’s theater for somebody somewhere.’ (He means no offense) He continues, ‘Nothing personal junior, no offense. It’s just that there is so much bushwa (bourgeois) in this ivory greenroom they call theater, sometimes it gets up around my chin.’ ‘But Hollywood,’ says EVE ‘You mustn’t stay out there…So few come back.’ ‘Yes’ ‘ I read George Jean Nathan every week.’ ‘Also Addison Dewitt’ ‘Every Day’ ‘ You didn’t have to tell me.’ (the critic’s role I will discuss later). This discussion corresponds to my discussion earlier about Hollywood commoditizing the theater and cheapening it and diffusing the traditions of the stagnant upper crust personages of such groups as the Sarah Siddons Society for the movement of the theater has reached its apex and is now in the process of decline. Filmmaking now represents a new movement or thrust that will blaze into the future however the theatre would still survive through television in the form of comedies, soap operas and serial shows still vying for a share of the market. Bill wants to be a part of the new movement because he feels bogged down by the lofty traditions of the theater. Another reference to the decline of the theater is made by Addison right before EVE’s final performance in Lloyd’s (playwright) new play ‘Footsteps on the Ceiling’, when he says, ‘ To the theatre world New Haven Connecticut is a short stretch of sidewalk between the Shubert theatre and the Taft hotel, surrounded by what looks very much like a small city. It is here that managers have what are called ‘out of town openings’ which are openings for New Yorkers who want to go out of town.’ It seems that the theatre world is confined to New York much like film is associated with Hollywood in California and that it is crammed into a tight space; you can understand why Broadway in New York city appears like the pinnacle of the theatre. It cannot be commoditized like film which has cinemas in so many states and countries throughout the world. The drama then becomes increasingly an esoteric interest for the elite who try to uphold the high tradition of the performing arts.  Another clue into Hollywood’s dominance is its wealth and this is demonstrated at Bill’s party when Eve is putting away the fur coat of a guest who is a Hollywood movie star. Karen says ‘Women with fur (expensive) like that where it never gets cold.’ 

There is also Max Fabian, the producer, and here is how Addison describes his role: ‘There are, in general, two types of producers: One has a great wealthy friends who will risk a tax deductible loss. This type is interested in art. The other is one to whom each production means potential ruin or fortune. This type is out to make a buck. Meet Max Fabian (out to make a buck). He is the producer of the play which has won for EVE Harrington the Sarah Siddons Award.' This means Max has no artistic credibility and that is how he is portrayed. He is more than grateful that EVE will receive the award for it will add more prestige to his productions and increase ticket sales in the future.

How do the actors relate to the writer and director? Margo has an argument with the playwright Lloyd and one can understand this relationship when he says to her ‘I shall never understand the weird process by which a body with a voice suddenly fancies itself a mind. Just when exactly does an actress decide they’re her words she’s saying and her thoughts she’s expressing?’ ‘ Usually when she has to rewrite and rethink them to keep the audience from leaving the theater,’ says Margo. ‘It’s about time  the piano realized it has not written the concerto,’ he responds. This tension shows the extent that playwrights and others are overshadowed behind the scenes by the stars which the public sees when it watches a play. Few casual viewers care about behind the scenes unless a particular set of works have a distinct brand such as a Coppola, a Welles or a Scorsese. The film does not highlight the role of the director directly although Margo’s boyfriend does land a job in Hollywood presumably because he has fashioned such a great performance out of his girlfriend, Margo.

Lastly, there is Karen (Celeste Holm) wife of the playwright Lloyd. As Addison describes her she merely married into the theatre and is completely unaware of the artistry of the theatre. She is quite biased and in her can be seen female naiveté where according to Addison, ‘she spoke  more than she learned.’ There is also Birdie (Thelma Ritter), a former vaudevillian who due to the circumstances surrounding her artistic endeavour (vaudeville becomes less relevant), which is also a form of stage performance,is now an assistant to Margo.

EVE vs. Margo: Rites of Succession

Rites of succession is where the predecessor makes way for an up and coming talent who will, hopefully, breathe fresh light into a particular product or any artistic, intellectual or athletic endeavour. When EVE enters the scene Margo is, according to Addison, ‘a star of the theatre. She made her first stage appearance at the age of 4 in Midsummer Night’s Dream. She played a fairy and entered, quite unexpectedly, stark naked. She has been a star ever since.’ This shows us that to be a star you have to dazzle the audience and give them something unexpected however when the film opens Margo is now 40 and with EVE encroaching on her territory she grows increasingly insecure as she is aware that EVE will do anything to reach the top thereby supplanting her as the star of the theatre. When we first meet her she is so assured of herself having performed over a hundred times in her latest production and every night, after each performance, she receives standing ovations for  she has dazzled the audience although we are never shown how she performs on stage; we are merely to assume that she is the consummate actress and so unable to see why she dazzles the audience. Everyone is at her beck and call and it seems she will be performing even when she has Alzheimer’s disease. She is unstoppable until EVE comes along. EVE’s first maneuver is to ingratiate herself with Margo and her friends with a pitiful fabricated story and by offering to be Margo’s assistant. At first she is introduced to Margo by Karen who discovers her night after night hoping to get a glimpse of Margo as she exits from the theatre house backstage; that is how determined EVE is. She strategically places herself to be closer to Margo so that she is able study her movements thereby subsuming her characteristics. When you are about to supersede someone you must first study their actions since imitation is the best form of flattery. In this case you have to imitate your predecessor if you are to build on  what they have achieved since their achievements represents a substantial amount of objective knowledge that one must always take with you whether you like it or not. Margo’s achievements are objective for she acts like a true star by dazzling her audience and so this is why EVE tries to study her. Secondly Eve must now try and seize the reins from Margo and this is done by targeting the weak link in her entourage which happens to be Karen. Karen is the one to introduce EVE to Margo and she is the one who also plots against Margo in an attempt to derail, if only temporarily, her lofty ideas about herself. She believes that because Margo is so caught up in her position as a star she treats people disrespectfully since everyone is supposed to be at her beck and call. Her actions are also significant since the new play that her husband, Lloyd, wants to be produced has Margo down to be the star however he would prefer EVE to have it since she is right for the part due to the appropriateness of her age (24); however he won’t cast EVE without his wife’s permission since she originally wished for Margo to play the part.  EVE convinces Karen to convince her husband to cast her in the lead role after EVE realizes that Karen sought to undermine Margo so that she would miss her performance and threatens to expose her. Prior to this it was instrumental for EVE to first be Margo’s understudy or a filler should Margo not be able to perform. Karen again arranges, at EVE’s behest, that she speak to the producer, Max Fabian, about EVE becoming  Margo’s understudy for the play that she is currently in. It seems that Margo was right to get upset when she discovers that EVE is now her understudy because it seems she has never had need for one being , supposedly, at the peak of her powers. It is then she becomes self conscious of her age and fearful of being supplanted. When Margo argues with Lloyd watch as EVE slinks away fully aware of the web of deception that she has weaved.  When Karen undermines Margo by having her miss a performance EVE takes up the call and invites all the top critics, including Addison, to witness a star being born as she performs on Margo’s behalf. It plays into EVE’s hands since she aligns with Addison to do an interview and his damning commentary is published in the papers where he criticizes Margo for being one of those unwilling to let go even though their time has come and gone.  It is after this that EVE threatens Karen. Eve also tries to seduce Karen’s husband not because she hates her personally but because Lloyd, Karen’s husband, is, artistically,  the most ‘promising playwright in America’ and 'commercially the most successful'. She is unsuccessful and prior to this she failed to seduce Margo’s director boyfriend who is also a prominent director. EVE strategically tries to seduce these two men because she knows that they will help her in attaining her goals. EVE gives the ‘performance of her life’ in the new play written by Karen’s husband and is awarded the Sarah Siddons Award for her efforts.

Eve then took  the right route to success: she targeted the weak link which was Karen and weaved a web of deceit while all the time defending herself with a false show of innocence. She first attempts to be Margo’s understudy so that she can master her mentor’s characteristics before taking off on her own in Lloyd’s new play. She also aligned with the critic Addison so that he would write damning remarks about Margo’s age in the papers thereby bringing her issues public: the fear about getting old. She gives the performance of her life and  takes the next step to Hollywood. Remember at first that when she first meets Bill she tries to convince him not to go out to Hollywood yet at the end of the film she decides to take the journey out there to attain even more success. Could it be that she wished Bill would content himself as a director in the theatre, while she herself sets sights on Hollywood, and in the meantime use him to build that tower from which she will shine so brightly in the theatre so that Hollywood would take notice? Her deceit rests on her appearing helpless and innocent which is the trap most men fall for.

Margo has a saving grace with her love for Bill for being in the limelight for so long she gives the impression that she will live forever. With Bill to reassure her of his love she is able to cushion herself and fall silently out of the limelight and give EVE her chance at success. The moment she finds that EVE is her understudy Margo gets into an argument with Bill and there we realize how much her age is a issue or the prospect of being replaced by a younger female. He tries to reassure her that he is not taken with EVE and eventually marries her especially after  Addison’s damning comment about older actresses unwilling to give the younger girls a chance. It is now time for Margo to relinquish the spotlight for in the public’s eye, influenced by Addison’s comments, she will be forced to accept the inevitable. The famous scene where she tells Lloyd that she has no intentions of playing Cora in his new play is a relief to Karen,   blackmailed by  EVE to convince her husband to give her the part, who gives a sudden burst of laughter thereby earning Celeste Holm an Oscar nomination. The main reason Margo relinquishes her talent is because she is now about to be married for it is a big responsibility being a woman. Here is what she says to Karen (in the car without gas thanks to Karen) when she is about to miss her performance, due to Karen’s underhandedness, where EVE will be revealed to the public for the first time as Margo’s understudy, ‘So many people know me. I wish I did. I wish someone would tell me about me.’ ‘You’re Margo. Just Margo.’ ‘And what is that, besides something spelled out in light bulbs, I mean? Besides something called a temperament which consists mostly of sweeping about on a broomstick and screaming at the top of my voice. Infants behave the way I do. They carry on and misbehave. They’d get drunk if they knew how – when they can’t have what they want. When they feel unwanted or insecure or loved.’ ‘What about Bill?’ ‘What about Bill?’ ‘He’s in Love with you.’ ‘I want him to want me not Margo Channing. And if I can’t tell them apart how can he?...Bill’s in love with Margo Channing . He’s fought with her, worked with her , and loved her. But 10 years from now Margo Channing will have ceased to exist . And what’s left will be  what?..About Eve I’ve acted pretty disgracefully towards her too. Don’t fumble for excuses, not here and now with my hair down. At best , lets say I’ve been oversensitive to well, to the fact that she’s so young, so feminine and so helpless to so many things I want to be for Bill. Funny business a woman’s career. The things you drop on your way up  the ladder so you can move faster you forget you’ll need them again when you get back to being a woman . that’s one career all females have in common, whether we like it or not, being a woman. Sooner or later we’ve got to work at it no matter how many other careers we’ve had or wanted. And in the last analysis nothing’s any good unless you can look up just before dinner or turn around in bed and there he is. Without that you’re not a woman. You’re something with a French provincial office or a book full of clippings. But you’re not a woman. Slow curtain the end.’ Let us hope that when EVE is on the rise she will learn this important lesson when she too fades in the spotlight. She tried to seduce the men on her way to the top because she thought it would bolster her career however  the time will come when, like Margo, she will need a man just to feel secure with who she is. At this point in her life EVE cares only for her career and it will be difficult for her to love any man without her ambitious nature destroying the relationship. Margo it seems was like EVE once with many lovers yet none of them staying because she never needed them or they felt she never needed them. She was only settled by her career until the point comes when the lights begin to fade and then you find out that no one is there. Margo was fortunate to have Bill will EVE be so lucky. Addison describes what the fresh new talent of  EVE in her prime seems like ‘And no  brighter light has ever dazzled the eye.’ This is what people always say about the next bright new talent which in this case happens to be EVE. She does supersede Margo by making the trek to Hollywood.

The Role of the Critic

Lastly I will discuss the role of the critic and in this film it is represented by the character, Addison Dewitt, ‘To those of you who do not read, attend the theatre, listen to unsponsored radio programs or know anything of the world in which you live, it is perhaps necessary for me to introduce my self. My name is Addison Dewitt. My native habitat is the theatre. In it, I toil not, neither do I spin. I am a critic and commentator. I am essential to the theater.’ Why is he essential to the theatre? Or Why are critics important, generally, to the artistic industry? Firstly, critics are the buffers between the artist and the public eye. It is important that the critic not be dazzled like a common fan that is unable to criticize since he or she is simply bamboozled by the artist’s manipulation.  It is the critic who ensures that the artistes retain a high standard in their craft and not fall below it. If a artist falls below that standard it is clear that they either have to pick themselves up or that they are undergoing a persistent decline and will never rise to the heights which saw them take the world by storm.  There are times when some artistes claim that they do not care what the critics say since they are confident in the support of the fan boys who worship the ground they walk on or who will buy into any phony act that they put on so as to stay relevant. They might not have been listening to the critic but if it turns out that the critic was right people will become interested in what he or she has to say about a particular piece of art and its players. When that critic gains a following it is clear that there will be a group of people who will rely on what this critic says. It is foolish therefore for some artists to say that they do not care what the critic thinks. This is why these two groups go hand in hand and are essential for each other. Without art there can be no critic to criticize the craft of a particular artist. The dichotomy of artist and critic centres on the fact that the critic is not dazzled foolishly by the artist. For a fan boy anything the artist does will seem magnificent since they are hooked and slavishly toil to endlessly kiss the ass of the artist. Look at the scene in this film at Bill’s welcome home party, when Margo is throwing a tantrum about EVE and the attention she receives from Bill, here is what Addison says,’ Every now and then, some elder statesmen of the theatre or cinema assures the public that actors and actresses are just plain folks ignoring the fact that their greatest attraction to the public is their complete lack of resemblance to normal human beings. We all have abnormality in common. We’re a breed apart from the rest of humanity, we theatre folk. We are the original displaced personalities .’ I don’t agree Addison,’ says Bill (the artist), ‘I’ll admit there is a screwball element in the theater. It sticks out. It’s got spotlights on it and a brass band. But it isn’t basic, it isn’t standard. If it were the theatre couldn’t survive.’  It is a good point since it is the subjective portrayal of the artist. ‘The theater is 9/10 hard work (rehearsals, drafts of music  or scripts etc) work done the hard way (since the artist has to fashion it in such a way that it makes sense to the audience) by sweat, application and craftsmanship. I’ll agree to this to be a good actor or actress means wanting to be that more than anything else in the world. (Yes it does , says EVE)It means a concentration of desire, ambition, and sacrifice as no other profession demands. I’ll agree that the man or woman who accepts these terms can’t be ordinary, can’t be just someone, to give so much for almost always so little.’ EVE counters Bill by saying, ‘If there is nothing, there’s applause. I’ve listened backstage to people applaud. It’s like waves of light coming over the footlights and wrapping you up. Imagine to know every night that different hundreds of people love you. Just that alone is worth everything.’ This is the conflict of artist and critic for the artist believes in his toil through the theatre and the critic can only hold him to that high standard having ‘neither to toil nor spin.’ In order to entertain you have to toil to discover something that will dazzle the audience and make them love you. The critic cannot be dazzled since he is aware of the show being put on by the artist because he is aware of the manipulation involved whereas the artist will tell you it is hard work to manipulate people. When Margo storms into the room and is acting up towards EVE only Addison sees beyond the façade when he says, ‘You’re maudlin and full of self-pity. You’re magnificent.’ His damning comments about the unwillingness of older actresses to give the younger actresses a chance, is significant in sobering  Margo who is drunk with stardom. 

 A good critic normally ensures that the high standard that is established be maintained. The critics correspond to the standard of the time and when a new standard is raised by the artist himself following criticism of his peers. This is why when a new standard is created in art it is normally as a result of the artist criticizing his own peers; the artist becomes the critic. He has to criticize in order to raise the standard since he or she is aware of the inadequacies of the craft at present. It is upon him therefore to raise the bar of the craft. (See my review of Amadeus (1984)). Initially when the artist makes the breakthrough some critics, stuck to the old, lower standard, will be reluctant to accept and will criticize the breakthrough of the artist as merely avant-garde with no substance behind it. This is until the subjective breakthrough of the artist become increasingly influential for later generations and becomes acknowledged as the new objective standard (see my review of Amadeus (1984)). A new style of criticism will have emerged where critics will now have to embrace this new technique as a part of their analysis of art. Some artists strive to overturn tradition but they only ensure that they repeat it and so what they thought was original is in fact not.  The successful critic must be able to make this distinction; so when a new standard is set the critic must adjust quickly and understand the merits of the breakthrough so that he or she remains relevant. If they continually criticize the breakthrough it will seem as if they are clinging to an old tradition; they must acknowledge that the artistic standard has been raised and criticize the craft of art based on this new addition. 3D for instance is not going down well with some critics but a film will come along that will utilize 3D technology to its fullest extent and film will not be the same. Recently while watching a premier league game in a London pub 3D televisions gave an option  to the spectators and many took up the offer. So don’t be too hasty to condemn 3D when in 20 years it will be the new standard of viewing films when the lower price of 3D televisions makes it available to the mass market at a cheaper cost. You will know when the children only want to watch their cartoons in 3D. In any case EVE is the foremost critic of Margo for she is the one who sets about undermining her stature in the theatre. Another important role of the critic involves him or her tackling the abstract created by the artist. When the artist creates a piece of work it stands apart from him independently and is subject to many interpretations. A critic, who is the one to see through the impressionism of the artist, gives the independent creation a structure within which, those who are dazzled, can interpret the work. Those who are dazzled can then temper their enthusiasm with the knowledge that they are being manipulated in some way. Whether this manipulation is well intentioned or not is the job of the critic. How does the artist want the audience to feel? Is there any merit to his manipulation or subjective interpretation of the objective world? 

Lastly Addison and another critic, from a unlikely place, Birdie(Thelma Ritter), are the only two to see beyond Eve's facade. Birdie, a former vaudevillian (stage performer) who is now Margo’s maid, is not taken with EVE’s fabricated sob story about her lowly origins and the loss of her husband during the war. She does not buy into cheap sentiment which is the trademark of most artists. She is even aware of EVE’s deceit since she understands clearly that EVE is trying to gain the upper hand. She says to Margo, ‘it’s as if she’s studying you.’ Whereas Birdie can only speculate Addison can confirm that EVE is being deceitful. On the night of her final performance he reveals to her that he is aware of her deceit. He knows her name is not EVE Harrington since she took that from the name of a school. She never saw Margo at the Shubert theatre in San Francisco since there is no Shubert theatre there (only New York, simple trap for EVE) and he knows of her attempts to seduce Bill, Margo’s boyfriend. He also knows that she will not marry Lloyd since he is not in love with her. Lloyd only visited her house at 3 in the morning since he thought EVE was ill and he couldn’t risk anything happening to his star performer.  Addison says, ‘There never was and never will be another like you. Is it possible, even conceivable, that you’ve confused me with that gang of backward children you play tricks on? That you have the same contempt for me as you have for them? I am Addison Dewitt. I am nobody’s fool least of all yours. It’s important right now that we talk; killer to killer.’ 'Champion to champion,’ says EVE. ‘Not with me,’ says Addison, ‘ You’re no champion. You’re stepping way up in class. Lloyd may leave Karen but he will not leave Karen for you. I have not come to New Haven to see the play, discuss your dreams or pull the ivy from the walls of yale. I have come here to tell you that you will not marry Lloyd or anyone else because I will not permit it…After tonight you will belong to me. ‘ ‘Belong to you? That sounds medieval something out of a old melodrama.’ ‘So does the history of the world for the last 20 years.’  She laughs and he slaps her. He claims that no one laughs at him. This suggests that Addison’s contempt for people arises out of his being mocked by people in earlier years. She runs to the phone to call for security to have Addison removed. He tells her 'Don't pick up that phone.' She does not and Addison is impressed. 'Something told you to do as I say. Cherish that instinct EVE it can be worth millions.' He reveals that he knows the cover for her deceit and that she was asked to leave her hometown by the wife of the husband she was in a relationship with. After he breaks her down and she is in tears he says, ‘You’re an improbable person EVE  and so am I. We have that in common. Also our contempt for humanity and inability to love and be loved. Insatiable ambition and talent. We deserve each other.' EVE finally  realizes that the two of them belong together because for her to supersede Margo she had to be critical of her lifestyle and therefore seek to destroy it.  The artist is as heartless as the critic yet that is required when that said artist wants to set new standards. After she says she cannot go on Addison says, ‘My dear you’ll give the performance of your life’ which she does and also wins the award and goes off to Hollywood.

Phoebe

After EVE returns home after receiving the award she encounters Phoebe who, just like EVE, will do anything to reach the top. She was attracted by EVE’s blistering performance and that her fabricated name is from her school. She is prepared to help EVE just as EVE was once eager to help Margo. The cycle has begun again and this is highlighted by the final shot with Phoebe clasping the award in a hall of mirrors. This final shot ensures that the film remains timeless since it highlights that this episode will go on and on.

Dr. Strangelove or: How I Learned To Stop Worrying and Love The Bomb (1964): Mankind in all its foolish glory

 The War Room


Dr. Strangelove or: How I Learned To Stop Worrying and Love the Bomb (1964)

Introduction

Stanley Kubrick’s great political satire Dr. Strangelove… is truly one of the gems of the cinema. This film released in 1964 retains its relevance not only due to its biting satire, which exposes the inherent absurdity of man, but to the technical wizardry that makes the film appear modern for the most part. This film is ideally placed at the height of the cold war between the bastion of capitalism in the West, The United States Of America and the bastion of so called communist ideals in the East, The Soviet Union and the eastern Bloc. These two super powers came to blows following the end of the second world war in 1945 and a new battle was waged on ideological grounds to prove which ideal of economic organization was superior. This battle manifested itself in technological advancement which is the feature of any high civilization. The creative thrust of these two super powers centred on two activities: the stockpile of arms which was a sign of military might and the space race which sought to delve into the frontiers beyond the earth’s atmosphere. This masterpiece (Dr. Strangelove…) centres on the arms race whereas Kubrick’s other masterpiece 2001: A Space Odyssey (1968) was influenced by the space race. Military might was not determined solely by automatic weapons and a standing army but by nuclear weapons and the two nations increased their stockpiles of nuclear warheads to such overwhelming proportions that the world sat on the edge of their seats in anticipation of the end of the world. All it would take was a spark to ignite Armageddon. This spark came in the form of the Cuban missile crisis (1962) where it was reported that the soviets had placed nuclear warheads in Cuba; it could have been interpreted as a symbolic threat or because Cuba, which was now an ally of the Soviet Union following its revolution of 1959, had exposed the weakness in US sovereignty in the West. The world waited with bated breath however the Soviets eventually pulled out.   This was why Kubrick at first intended the film to be of a serious nature for this would accurately reflect the mood felt by most at the time; there were few people who saw the bright side of it all. It is all credit to the genius of Kubrick in adapting the film as a satire that most people who watched the film would have their fears laid to rest. The questions the film asks are: Could man really be this foolish? Is not the Cold War a figment of our imaginations or simply a game being played by the politicians? Should we really be worried about the possible extinction of man? It is known that politicians prey on the fears and joys of the people which is why they can appear godlike to the weak minded however this film exposes the absurdity of politics like no other film before for politics now is caught up in one of its usual games which has deadly results. It has finally reached the point where politicians can no longer cast any spells for the conundrums (hollow ideological rhetoric) they initially created to befuddle the people have taken on a life of their own. By taking on a life of its own these conundrums which are no more than conspiracy theories have finally come to light into an actual reality where it is no longer a conundrum but a startling fact. Conspiracy theories are never to be proven by facts; they simply keep the weak minds endlessly buzzing with excitement. This  phenomenon of politics which arose since the social foundation of man was laid is supposed to be merely a hoax right? It’s just supposed to be the means to discredit one’s opponent right? There is nothing more to it right? The greatness in this film lies in the fact that those who follow the politicians seem to have embraced the rhetoric and acted upon it. Once the followers follow the lines of conspiracy theory chaos normally ensues and the absurdity of man is revealed. The only other phenomenon to generate such absurdity is religion. In the beginning of man’s social existence as distinct from the apes religion and politics were intertwined. It was eventually separated with the dawn of philosophy.   It is still a serious matter for we have seen where the followers of politics have given into the conspiracy theories of the politicians and their lackeys to the point where genocide or mass murder of various political supporters has  occurred.  Every lover of politics should watch this film and understand the inherent absurdity of the profession. This film takes the comic side which highlights the absurdity and folly of the concept of politics and the politicians and their followers who are doomed to embrace it; it is through the comic side that we can appreciate the ideological base of politics however the destructive actions that follow when the supporters follow through on the falsehoods created by the politicians always has a serious edge. The true comedy lies in watching the politicians try and control a falsehood (negative perception of the communist) that is about to result in mankind’s destruction. The event is not based on fact since it never occurred and we can truly appreciate the joke. It is a joke because it can never happen. Of course it can happen as long as politicians are around.

This film’s political satire is interspersed with references to sexual impotency which is to reflect the inability of the lead characters in the War Room to change the course of the conundrum they have created. This comic film’s upbeat nature is diffused amongst all sectors involved in it’s creation from the musical score to the magnificent performance given by Peter Sellers and George C. Scott and Sterling Hayden. Sellers is famous for portraying three characters: the president of the United States, Dr. Strangelove and group captain Mandrake. He was to play the head pilot, Major Kong, of Hayden’s Wing however he broke his leg and was unable to complete shooting. He was replaced by relatively unknown Texan Slim Pickens who is featured in the most famous scene where he rides the nuclear warhead like a horse or cowboy ‘Yahoo, yee haw’ as it plummets to the earth. George C. Scott plays the effervescent General Buck Turgidson and Sterling Hayden plays the deranged General Jack Ripper who issues the order for his wing to launch plan attack r which will see the US drop nuclear bombs on the Soviets. General Ripper believes that the soviets are corrupting the’ precious bodily fluids’ of Americans.

The film centres on the prospect of nuclear war as General ripper issues the go code which authorizes his wing to drop bombs on the soviets. Captain Mandrake must try and convince General ripper to recall the planes as he is the only one who knows the code. As the president and his aides drastically try to resolve the situation by creating a hotline with Premier Kissoff, head of the Soviet Union, it is clear that some things are even beyond the control of the gods for in this film the Soviets have created a retaliatory doomsday device which is set to automatically detonate should they be engaged by a nuclear attack. This doomsday device will unleash such radioactive mayhem that mankind will be annihilated. It remains to be seen if Dr. Strangelove can provide the necessary solution to this dilemma.

Dr. Strangelove was nominated for 4 Academy Awards: Best film, Best Actor (Sellers), Best Screenplay adaptation (Stanley Kubrick, Peter George and Terry Southern) and Best Director (Stanley Kubrick). It won none but was still a commercial and critical success. The fictional war room in this film has entered the lexicon of the American people. Everyone knows that after President Reagan was sworn in he asked his chief of staff to see the War room but was told, unfortunately, that there is no war room. With contemporary filmgoers who will experience the film for the first time, the scenes in the plane where the crew are  about to release the nuclear warhead with the musical score suggesting that this is where the action takes place, will resonate more initially. If, as a contemporary, you watch the film a second time you will gradually come to appreciate the other levels of the film.

In this review I will discuss the absurdity of man as presented in this film; the famous role of Peter Sellers which reveals three of the levels of the film, the prospective fourth performance would have seen Sellers present at all four levels; the war room discussion with Dr. Strangelove and his solution to the problem. In this film you can see the germs of Kubrick’s evolutionary themes. This thematic element was to be developed in 2001: A Space Odyssey however it still merits a discussion here. This element of political control was an extension of his earlier masterpiece Paths of Glory (1957).

The Absurdity of Man’s Social Organization

It is clear that man strives for unity in this world however boundaries become established and conflict ensues.  The idealist love to speak of world peace or paradise which is silly when one considers that man is prone to establish boundaries that will secure his livelihood. In the beginning of the world man was  communal until private property was established through religion and politics; there were some men who initially, through some form of inspiration, were able to elevate their standing above the rabble and hence were able to secure land unto themselves with the help of people who they could sway to their ways. These people became the priests and soldiers who helped to defend his emerging kingdom and eventually this one individual was able to demand tribute from the citizens in the particular geographical space. After it became established that he was the leader he had to maintain his power either through coercion or persuasion and we all know the effects of coercion which remains relevant to this day. Persuasion however is where the art of politics emerged as it is more sophisticated since you are able to bend people to your will etc and are able to prey on their fears and joys ensuring that in the end it is you they beseech when in need.  There arises a dilemma when another individual has assumed control over a territory of equal size and economic strength. The two of you inevitably must come to blows since you have to prove to your followers that it is your right to rule all around since it was ordained by heaven. This is the basis of political organization and conflict between political opponents. Dr. Strangelove…. exposes the various paradigm shifts in the struggle. Firstly there are the foot soldiers and their generals  who carry out the orders and secondly there are the politicians/leaders who issue these said orders. This great film highlights these levels and another in the form of Dr. Strangelove(which means perverted love) himself who is an ex nazi official who is the president’s advisor. Depending on how weak the leader is this advisor may be the one who is actually in command. This is clear by the end of the film where Strangelove remains silent until the end and there is a famous shot of him in the shadows waiting on a opportune moment to strike and reveal his dastardly plan.

This film opens with General Jack Ripper (named after the famed killer of prostitutes) who issues the go ahead to launch the wing attack plan R on the Soviets which is known as condition red. He shuts off the base and all form of communication with the outside and tells his soldiers not to trust anyone even senior officers since he believes the Communists have infiltrated America’s social fabric. This  ultra fanaticism is given texture by his famous denunciation of communism- although it is never made clear what a communist (commie) is,  which is a brilliant stroke by Kubrick since the politics between the superiors of the average man is so far removed from him  that he can only identify a communist by what he hears from the mouth of the politician- when Ripper says to Captain Mandrake, after he discovers that Mandrake has exposed his faulty order after discovering that there is no attack by the communists since civilian broad casting is vibrant on radio (Ripper ordered all radios to be impounded. This man was not insane) , ‘Do you recall what Clomenceau said about war(Mandrake doesn’t know)? He said war was too important to be left to the generals. When he said that, fifty years ago, he might have been right. But today war is too important to be left to the politicians. They have neither the time, the training, nor the inclination for strategic thought. I can no longer sit back and allow communist infiltration, communist indoctrination, communist subversion, and the international communist conspiracy to sap and impurify all of our precious bodily fluids.’ Lol. That is his justification and all credit to Sterling Hayden who delivered this with a straight face and with such serious gestures; you know this must be his reality. I would need repeated takes to deliver such statements. In any case he does stress one important point about the role of generals in warfare. Since time immemorial it was the leaders who would spur the army on since most kings or emperors would be present on or in close proximity to the battlefield directing the troops. General and leader were almost intertwined however as civilization develops the roles become separated and the politicians only hold the power to thrust the generals into war who wage the combat in anyway they choose where before the leader would direct the troops or oversea their progress on the battlefield. General Ripper is in a position where the means of defence are at his disposal and he is unable to do anything for he has to receive a go ahead from the President who he claims has no inclination for strategic thought. In his mind the cold war is  superficial when waged on ideological grounds when it should be fought like other wars on the battle field which is the customary approach since time immemorial. The cold war did seem superficial however since when nations become rich the unproductive sector of the government, which is now enriched by taxes proceeds to build its armed forces to overwhelming proportions in the likelihood that there may be war or they wish to expand their territory. At least Hitler made no pretensions. If you build up your armed forces you wage war and expand or else you are wasting taxpayers’ dollars and running the country in the red.  The Cold War was distinct for war was not waged between the Soviets and the US but between these two superpowers and smaller states in order to either preserve their ideal or overturn an opposing one. They failed miserably: the US in Vietnam trying to preserve the so called democratic/capitalist virtues of Southern Vietnam and the Soviets trying to retain support of their socialist afghan neighbors, the Democratic republic of Afghanistan party, who were supposedly being encroached upon by rebels supported by capitalist nations such as the US. These wars were wasteful since they were empty as they only sought to preserve ideals and there was no economic justification for the waste of such money. At least in Iraq it is clearly about oil reserves.  General Ripper is determined that war be declared since what is the point of all these weapons and tough talk. If it were Napoleon or Hitler with those weapons war would be declared instantly.

Ripper only errs in his justification for war which is the need to preserve purity of essence of his bodily fluids. It may seem incredulous however the purity of essence concept employed by Ripper suggests the extent of prejudice in certain societies to the point where they want to have nothing to do with their neighbours due to fears of corruption. In modern day democracies it is common for opposing factions to deny any sort of affiliation with their rivals; if you were to mention to the supporter of a particular political party that you support the enemy they would dismiss you, probably in a violent manner for they refuse to be corrupted by the ideals of the enemy believing firmly in the rights of their masters to rule. In most nations support for a political party becomes inherited through family units. The Soviet Union crumbled because its affiliates never aspired to their ideals and were won over by the West. Several nations of the eastern bloc never gave them the right to rule and this was ever present in their urge to secede from the soviets. In any case Ripper’s views may seem insane and extra but it is not uncommon when one considers the fanaticism of some political supporters. Ripper believes in the virtue of capitalist production in America which has its basis set on the principle of private property. This not only applies to Ripper for we see the same bias in the dim witted Colonel Bat guano (bat feces) who is escorting Mandrake off the premises after some slight civil strife between Ripper’s men and his squadron. His biases are evident as he shoots off the door to Ripper’s office since he evidently believes that Mandrake is a commie. When Mandrake is desperate to get in contact with the president through a payphone to give him the recall code for the planes on ripper’s wing and asks the colonel to get coins from the coca cola machine so as to complete the call here is what the colonel says, ‘Ok I’m gonna get your money for you. But you know what’s gonna happen to you if you can’t get the president of the United States on the phone?’ ‘What?’ asks Mandrake. ‘You’re going to have to answer to the Coca Cola company.’ He shoots the machine and is sprayed by juice which is a sexual reference to healthy  ejaculation or an easing of tension.

In the War Room the President, Merkin Muffley (name derived from references to female pubic area which is to highlight his impotence in the face of disaster. He was originally intended to be portrayed as an asthmatic throughout the film although when we first see him he is blowing his nose), and his generals try and resolve the situation. The politicians, as usual, are on a holiday in this time of crisis as the president is informed ‘The Secretary of State is in Vietnam, The secretary of defense is in Laos and the Vice President is in Mexico City. We can establish contact with them at any time. The undersecretaries are here.’ General Buck Turgidson (George C. Scott) is the main source of information for the president and he delights in probabilities and facts although there are times when he clearly supports the thrust made by Ripper who exceeded his authority in launching the attack since that is all generals know: warfare. The  president however is clearly a helpless leader and does not have all the facts straight for politicians have become so hapless in warfare that they have to be informed word for word by the generals whereas previously the politician would have been required to have some knowledge of warfare since defense is one of the prerogatives of a leader. He however has no knowledge but in the eyes of the public the modern day politician only has to give the impression that he knows what is going on. They come on television and proclaim the death of an enemy of the American people but never had a thing to do with it and this is why the security sector of developed nations seem autonomous and this creates the possibility of them exceeding authority. If they exceed authority then it is possible that this can be turned into a political advantage and this is where the character of Dr. Strangelove comes in. ( I will discuss him later). The president seems to be unaware of a certain provision in Plan R which was exploited by General Ripper which, as General Buck explains,

‘Plan R is an emergency war plan in which a lower echelon commander may order nuclear retaliation after a sneak attack if the normal chain of command has been disrupted. You approved it sir. You must remember. Surely you must recall, sir, when Senator Beaufort made that big hassle about our deterrent lacking credibility. The idea was for Plan r to be a sort of retaliatory safeguard.’ ‘A safeguard?’ (How ironic). ‘I admit that the human element has failed us here but the idea was to discourage the Ruskies from any hope  that they could knock out Washington and yourself in a sneak attack and escape retaliation because of lack of proper command and control.’

This is another  absurdity associated with the bloated bureaucracy now present in modern day governments where the leader is unaware of certain provisions in an act which he approves for his secretaries come to him with bills and say ‘Sir this requires your signature’ and he signs it without examining the provision since there are so much acts to sign. With an intellectual or enlightened leader this cannot occur and so I agree with Plato in The Republic that society requires philosophers to be leaders.  Even when the parliament or congress is lively it is normally political rhetoric so it is no wonder the president does not remember and when he has to sign off on the bill he signs and moves on to the next completely unaware of what he has just signed. The president decides to include the Russian ambassador, De Sadesky (Peter Bull), in the meeting so that he can get in contact with Premier Kissoff for he disagrees with the approach of General Buck that they should take advantage of the situation and launch an all out attack on Russia for even if the Russians were to attack the US would only experience ‘modest civilian casualties’. The president states that ‘it is the avowed policy of this country never to strike first with nuclear weapons’ although as General Buck informs that policy has been ‘invalidated’ by General Ripper. The Ambassador represents the absurdity in Russia’s policy  he is introduced demanding fresh fish ‘Your eggs are they fresh (Yes) I will have poached eggs and bring me some Cigars, Havana cigar.’ Try one of these Jamaican cigars ambassador’ I do not support the work of imperialist stooges’ ‘Only Commie stooges uh.’ This merely exposes the fact these superpowers are imperial whether they like it or not especially as the values that once saw them ascend to the top have evaporated in the joy of consumption as opposed to production.  General Buck and the Ambassador get into a scuffle and yet another absurd statement is made, this time by the President, ‘Gentlemen you cannot fight in here this is the war room.’ The Ambassador allows them to get Kissof online who is also on holiday ‘You would never have found him in the office. Our premier is a man of the people but he is also a man if you know what I mean.’ They inform the drunken premier of the impending disaster and as they try to resolve the issue the Ambassador informs the president of the doomsday machine which will annihilate the world should it be activated by other enemy attack or any attempt made to ‘untrigger it’.

‘What a load of commie bull,’ says  Tugidson 'Our  studies show that even the worst fallout (from radioactivity) is down to a safe level after two weeks.’  ‘You  obviously have never heard of cobalt thorium G. Cobalt thorium G has a radioactive half life of 93 years.You take, say, 50 H bombs in the 100 megaton range and jacket them with cobalt thorium G when they are exploded they will produce a doomsday shroud, a lethal cloud of radioactivity which will encircle the earth for 93 years.’ ‘This is absolute madness ambassador,’ says the president, ‘Why should you build such a thing?’ ‘There are those who fought against it. But we could not keep up with the cost involved in the arms race, the space race and the peace race. At the same time our people grumbled for more nylons and more washing machines. Our doomsday scheme cost us just a small fraction of what we have been spending on defense in a single year. The deciding factor was when we learned your country was working  on similar lines and we were afraid of a doomsday gap.’  ‘This is preposterous I’ve never approved of anything like that.’ ‘Our source was the New  York Times.’ Another absurdity since politics relies on conspiracy theories to remain relevant. The president asks, ‘Dr. Strangelove do we have anything like that in the works?’ Strangelove responds, ‘Under the authority granted me as head of weapons research and development . I commissioned last year a study of this project by the Bland (weak, insipid etc) corporation (this hints of corruption which is the point here. Strangelove must have commissioned as a means to destroy the world). Based on the findings of the report my conclusion was that this idea was not a practical deterrent for reasons which at this moment must be all too obvious.’ You mean it is possible for them to have built such a thing?’ ‘Mr. President, the technology required is easily within the means of even the smallest nuclear power. It requires only the will to do so.’ ‘But how is it possible for this thing to be triggered automatically and yet also impossible to untrigger?’ ‘Mr. President It is not only possible, it is essential. That is the whole idea of the machine you know. Deterrence is the art of producing in the mind of the enemy the fear of attack. And so because of the automated and irrevocable decision making process which rules out human meddling the doomsday machine is terrifying and simple to understand and completely credible and convincing.’ ‘ But this is fantastic Strangelove how can it be triggered automatically?’ ‘It is remarkably simple to do that. When you merely wish to bury bombs there is no limit to the size. After that they are connected to a gigantic complex of computers. Now then a specific and clearly defined set of circumstances under which the bombs are to be exploded is programmed into a tape memory bank. A single roll of tape can store all the information. The whole point of the doomsday machine is lost if you keep it a secret. Why didn’t you tell the world?’ Ambassador: 'It was to be announced at the party congress on Monday. As you know the premier loves surprises.’ (A little late for that) Man has created a machine independent of his will and now they are powerless to influence it in any way as it has taken on a life of its own. This theme was developed more pointedly in 2001: A Space Odyssey.

There is not much to be said of the members of General Ripper’s wing of B-52 bombers who are to offload the nuclear bomb apart from the mannerisms of Major Kong. They are supposed to carry out the orders of their superiors and nothing more however it shows how inactive this wing really is since according to the narration they should be on patrol 24 hours a day. The tax payers are paying for them to be idle and enjoy playboy magazines. There was a scene that was axed where the members of the crew question General ripper’s order  of plan attack R however a vestige of it still remains when the character, Lt. Zothar Zogg (James  Earl Jones), asks ,’ Major Kong, is it possible that this is some kind of loyalty test? You know give the go code and then recall to see who would actually go.’ ‘Aint nobody ever got the go code yet,’ says Kong ‘And Old Ripper wouldn’t be giving us Plan R unless them ruskies had already clobbered Washington.’ When Major Kong  rides the atomic bomb to the earth, in his famous yahoo scene, that will activate world destruction it just shows who are on the actual frontline blindly following the will of their leaders. This can also be seen with the soldiers on Ripper’s base who obey without hesitation the orders of their general.

Absurdity therefore has manifested itself on all levels and has eroded man’s social organization and this is why the film remains timeless as a political treatise particularly if you constantly hear in the news of the US trying to coerce smaller nuclear powers such as Iran and North Korea to disable their arms. This film does not only seem relevant but will forever remain relevant.

Group Captain Mandrake (Peter Sellers) and General Jack Ripper (Sterling Hayden)

The multi faceted performance of Peter Sellers and the manifest layers of man’s absurdity and progress along evolutionary lines

The multifaceted performance by Peter Sellers in this film reveals how absurdity from the top percolates to the bottom and it also presents a scale of humanity on the evolutionary ladder from a physical and intellectual perspective. The leaders at top represent the intellectual perspective and the lower levels represent the more physical approach. Sellers plays three characters: group captain mandrake, US President  Merkin Muffley and the enigmatic Dr. Strangelove. As mentioned before he was scheduled to play Major Kong however he broke his leg during shooting. This would have made this film complete however it does not matter since all the levels are established throughout. At the base there are the foot soldiers who carry out the orders and we are given the view of one plane of the B52 bomber unit headed by Major Kong. This base level reflects how politics is carried out on the ground level. Since dawn of mankind’s  societies the soldiers would brutalize opponents on behalf of the chief; it still continues to day which is why to overcome a government you have to defeat the armed forces however as Lt. Zogg said it could be a loyalty test, the order to initiate plan attack R. this is their lot in life to follow and execute the will of their superiors. They are usually the more physical set or representative of labour for without labour society cannot grow. Labour without direction however in modern societies leads to unproductive employment. In any case they are the laboring force. The next level is represented by captain mandrake who has obviously graduated from the laboring position to bureaucratic centre on the army base where he sits behind a desk and is second to General Ripper. It is clear he has some experience of hard labour when ripper asks him if he was ever a POW (prisoner of war); he answers in the affirmative for he was a pow in World War 2 under the Japanese where he was forced to lay tracks for the railroad. ‘They do make bloody good cameras’ though says mandrake. He has also reached a position where he can challenge the wisdom of his superiors which in this case is general ripper. He does this when he realizes that civilian broadcasting is live on air which would negate the possibility, according to the general, that the Russians have launched their attack on the US. He is the only one in position to question ripper who tries to coax him with the question of purity of essence. He is an intermediate character between the foot soldier and the general and his transition to a weakened physical state is clear when he is asked to load ripper’s gun with bullets and he says, ‘Jack I’d love to come you see but the string in my  leg is gone.’ The next level are the generals who only warm their chair and give out orders being so far removed from the heat of battle however  the mode of operation still rests with their  judgment and when that is faulty the defense of the country is in doubt. There are two generals in this film: General Ripper and General Buck Turgidson. These generals are responsible for defense and are obviously close to the seat of power as an aide to president which is why ripper could have exceeded his authority. General Buck is a man portrayed as someone who, through subtlety, questions the president’s decisions as leader especially when he invites the Russian ambassador to sit in on the war room discussion and when he refuses to seize on Ripper’s initiative to wipe out the Russians. These are the two points on which Buck questions the president probably aware of his weakness. I quoted above how he hints that the president must recall the provisions of plan r which is to expose his capabilities as a leader. He is one who enjoys a comfortable lifestyle being with the only female in the film, a playboy model, and does not seem at all interested in his work initially since he is able to live off the labour of his foot soldiers. A theme brought across in Kubrick’s earlier masterpiece Paths of Glory (1957). General Ripper however takes his job seriously which is why he issues the go code to the b52 bombers. His theory of purity of essence and the corruption of bodily fluids, made mostly of water, by the soviets reflects how vested he is in the cold war struggle.  General Buck seems to appreciate that ripper exceeded his authority since the trust generated by the Cold War allows him to shed some dust and oil his rusty joints. After the generals is the president who  represents another stage of development being on a higher position of leadership  yet with the weakest physical constitution; when Schwarzenegger made fun of Obama’s physique during the ‘Yes We Can' campaign you understand what the film is trying to say. The president however relies exclusively on the advice given to him by his staff; he is incapable of fathoming the depth of all his decisions and must place faith in his subordinates whether he likes it or not for the richer a nation gets in this modern day the more bloated does the unproductive sector of government become having enriched it self on the spoil of the workers, exploited by the capitalist class, who generate surplus value.  The Government bureaucracy becomes bloated when a nation is rich; it is inevitable. The president therefore cannot comprehend the entire network and can only rely on advice handed to him and this is where Strangelove comes in as the president’s advisor. He is initially head of weapons research and development but as we shall see in his 100 year plan he provides the solution for a new earth. Dr. Strangelove therefore represents the highest level of leadership yet the one with the weakest physical constitution although a high level of intellectual development. His right hand with the black glove has a life of its own (modeled off a character in the masterpiece Metropolis (1927)) and he lies almost handicapped in his wheel chair. He is almost amazed near the end when he can walk ‘Mein Fuhrer, I can walk.’ It seems amazing to him yet he has been able to arrange the birth of a new civilization which I will now discuss in the final section.  Well how does this relate to the evolutionary debate? In Charles Darwin's famous and influential work The Descent of Man (1871) he quotes an authority:  ‘Dr. Beddoe further believes that wherever a “race attains its maximum of physical development, it rises highest in energy and moral vigour.”’ Darwin says again , ‘It has been often been objected to such views as the foregoing, that man is one of the most helpless and defenceless creatures in the world; and that during his early and less well-developed condition would have been still more helpless… We should, however bear in mind that an animal possessing great size, strength, and ferocity, and which like the gorilla, could defend itself from all enemies, would not perhaps have become social; and this would most effectually have checked the acquirement of the higher mental qualities, such as sympathy and love of his fellows. Hence it might have been an immense advantage to man to have sprung from some comparatively weak creature.’ If you do not agree with Darwin why do we rely so much on technology and our mental faculties to rule this world? Although Strangelove (or perverted love) is the weakest of the leaders he at the same time represents the highest level one can attain in leadership.

Dr. Strangelove (Peter Sellers)

Dr. Strangelove’s  100 year plan for a new earth in the face of destruction (hence the title)

Despite the recall code being issued, after Ripper’s suicide and, subsequently, Mandrake deciphering Ripper’s combination, the plane with Major Kong is still on course to drop its nuclear war head on Russia due to its communication being disabled after a heat seeking missile attack from the Russian base which would not have enabled it to receive the recall code.  The celebrations of the politicians and the army staff is short lived as this one plane is about to activate the doomsday machine. The politicians are in a quandary for this will mean the end of the world as they know it. They need to turn this into a political advantage however in order to do this you need an intellect on a higher level and this is why they turn to Dr. Strangelove. Who is this Dr. Strangelove? He is a German who fled after the defeat of the Nazis in World War 2. ‘Strangelove what kind of a name is that? That ain't no Kraut name’ asks General Buck. Stainsey (stain) says, ‘He changed it when he became a citizen. It used to be Merkwurdichliebe.’ He constantly refers to his fuhrer or Adolf Hitler in his ranting especially as he is close to his plan to control a new world order. His talk of life underground after the doomsday machine will trigger automatically and eliminate all life on earth above could be said to be influenced by Hitler’s last days in his bunker as the defeat of his forces seemed imminent.  Hitler was one of those politicians that fought from within without any understanding of war on the ground level however he did have grandiose ambitions for a new world order.  Well this is how Strangelove will be able to create a new world order which can be said to be based on how Hitler lived out his final days in the bunker. The sinister nature of Dr. Strangelove is exhibited in a shot in the film where he remains silent in the shadows smoking in the wheel chair after the politicians are unable to control the one plane that will bring about the destruction of life on earth above.

‘Mr. President, ‘ says Strangelove, ‘ I would not rule out the chance to preserve a nucleus of human specimens . It would be quite easy at the bottom of some of our deeper mine shafts. The radioactivity would never penetrate a mine some thousands of feet deep. And in a matter of weeks, sufficient improvements in dwelling space could easily be provided.’  ‘How long would you have to stay down there?’ asks the president. ‘Well that’s you know cobalt thorium g. I would think possibly 100 years. You mean people could actually stay down there for a hundred years?’ ‘It would not be difficult Mein fuhrer, sorry Mr. President; nuclear reactors could provide power almost indefinitely. Greenhouse could maintain plant life. Animals could be bred and slaughtered (emphasis on slaughtered to emphasise the Nazi’s love for killing). A quick survey would have to be made of all the available mine sites in the country. But I would guess a dwelling space for a several hundred thousand of our people could easily be provided.’ ‘ Well I would hate to have to decide(the president shows he does not have the will to act) who stays up and who goes down. Well that would not be necessary Mr. President. It could easily be accomplished with a computer  and the computer could be set and programmed to accept factors from youth, health, sexual fertility, intelligence and a cross section of necessary skills (labour). Of course it would be absolutely vital that our top government and military men be included (as there will be a reversion to the old days it is essential that the government be preserved being at the top and the lower classes would, as always, have to suffer the threat of annihilation. Somewhat similar to Hitler’s last days and his plans for a master race) to foster and impart the required principles of leadership and tradition ( he struggles with his hand who has a life of its own. It can be speculated that Hitler lives on in that arm). Naturally they would breed prodigiously there would be much time and little to do. But with the proper breeding techniques and a ratio of, say, ten females to each male they could then work their way back to the present gross national product within say 20 years.’ ‘But look here doctor. Wouldn’t this nucleus of survivors be so grief stricken and anguished that they… well, envy dead and not want to go on living?’ ‘When they go down into the mine everyone will still be alive. There would be no shocking memories  and the prevailing emotion will be of nostalgia for those left behind combined with a spirit of bold curiosity for the future ahead. General Buck asks Strangelove whether the ‘ten female to one man ratio necessitate the abandonment of the so called monogamous sexual  relationship?’ ‘ Regrettably yes’ But it is a sacrifice required for the future of the human race. I hasten to add that since each man will be required to do prodigious service along these lines the women will have to be selected for their sexual characteristics (evolutionary notion of natural selection) which will have to be of a highly stimulating nature.’

 The discussion now shifts to the old possibility of Soviet attack once they are in the mine shafts and must not, as Buck says,  ‘allow a mine shaft gap’, in arms between the Soviets and the US. The ambassador who leaves hastily in preparation of going underground and waging a new style of battle, still ensures that he takes pictures of the maps in the war room.

‘Sir I have a plan… Mein Fuhrer. I can walk.’  This must be a reference to the fact that Hitler is still allowed to live out his plans for world domination through Dr. Strangelove.

There is then a shift to the destruction that follows above with the song ‘We’ll meet again’ thereby resuming the same old absurdity which never seems to end.

This film is a timeless masterpiece.

Rise of the Planet of the Apes (2011) ***/5. The vulgar elements are present but the film manages to remain interesting throughout as an origin story for a long running franchise

The Rise of the Planet of the Apes is a good film despite the inherent vulgar elements in the story. Despite these vulgar elements it retains a steady head by adhering to the film’s internal logic which is the process of transformation of a mild mannered ape,(which inherited special genes from its mother who dies in a laboratory where scientists led by Will Rodman(James Franco) are experimenting on a drug that will increase brain function) into a revolutionary who leads his fellow apes to freedom from the oppressive bourgeois system. The film may be attached to a long running franchise however it achieves things which its predecessors did not mainly because it seeks to explain how apes could possibly gain control of an entire planet. As we know it chimpanzees are merely test subjects in a laboratory and for them to rule the earth would require a higher brain function which they do not possess at the moment however man gives them a nudge in the right direction. The previous installments in the franchise began with the absolute which is that the apes are already in control and have high intelligence which can only be accorded (in sci -fi films ) to extra terrestrials. This is why the previous films had the apes on another planet thousands of light years away from earth for it would require too much explanation of how these apes actually became smart. I have never appreciated those films however it is clear that there is a symbolic element inherent in the franchise that would make it successful. This in fact is what makes most science fiction and fantasy films successful: the  symbol. This film seeks to explore what symbol the leader of the clan, Caesar, (whose movements and facial expressions are modeled off simulations by Andy Serkis) represents as he leads the members of his species to freedom.  The vulgar element rests in the inability of the story to seem credible however that is superseded by the symbol which is resistance and triumph over the existing establishment which in this case is represented by the bourgeois class who made the drastic break with feudalism/or the  medieval period many centuries ago to become the dominant world economic force. The success of the bourgeois class is marked by exploitation of the working classes who generate the surplus value and therefore profit (associated with price) which makes this class and their lackeys rich. It is clear that Caesar’s rebellion (it is not necessarily a complete revolution since no new society is formed) represents a break with the system and the proposed dawn of a new civilization. There were those like Karl Marx who believed that the class struggle inherent in the capitalist system will be resolved with a higher form of civilization. In this case it is represented by the civilization that is to be created by the apes. We shall see what the apes have in store

What’s good about this film?

The development of the character Caesar and the many transitions brought about many interactions that eventually  make him into the leader of the ape rebellion is the major highlight. His development takes years unlike other films with the same premise where the main character becomes a hero over night. When Will (James Franco ) discovers him in the lab after his mother has been murdered following a burst of rage in the lab, he has inherited her characteristics of high intelligence which is artificially boosted in the lab with the experimental drug 112 which is later upgraded to 113. The drug is experimented on the apes that are closest to us biologically in order to determine the limitations of the project before it can be put into mass production by the capitalist class so as to make a profit. In capitalist production it is the scientists such as Will who make advancements in technology before  the existing technology can be improved upon. In this case it is the pharmaceutical companies who stand to benefit and I appreciated the rebellion of the apes because the tests in these films  is similar to tests run by these quack doctors on African people (it is then the hypocritical bourgeois class that turn around when Africa burns to say ‘help them! Help them!’) before they send the drugs to market. Caesar inherits the effects of the drug which see him born as a highly intelligent creature. It is because of his high intelligence that he is able to make insights into the servile conditions in which he is born. After several instances he turns his back on the humans who  sheltered him because, as the film brings across, this sheltering is questionable since he goes around on a leash like a dog and one with his intelligence should not be treated like a pet. Initially he unconsciously sees himself as a pet but eventually he assumes control of his clan through several instances simply because he is aware of how to wield the power exhibited by man. The transition from this intelligent pet to leader of the new civilization is a true highlight and it was interesting because it is a process of time and it is slow like time itself. It is the  small details revealed during  the course of 1hr. 50 minutes that will clearly make you appreciative of the screenplay and why the apes truly deserve their freedom. I cannot elaborate on these small details however it is these elements that make you understand the various transitions to the new civilization although you should know the outcome: there will eventually be a planet of the apes. The fact that you know the outcome should not deter you because of these transitions which are revealed in the small moments. Always bear in my mind that these transitions involve Caesar breaking with his human benefactors and his rise to power among his own kin who must first accept him as one of their own; although I told you about those situations does not reveal the small details that account for them coming into being. You know the outcome but the film maker's vision arises with the small details associated with Caesar’s emotional reactions to certain situations that alter his consciousness. It is much like Nolan in Batman Begins (2005) another origin story that took the time to elaborate on the hero’s quest to become an ideal. The quest undertaken by Caesar involves trial and failure and this film gets it right to some extent. 

Another good element of the film is the digital effects of Caesar himself which are crucial to understand his emotional reactions to certain situations in the film which are generated by his clashes with man. His movements are modeled off the simulations made by Andy Serkis however the originality is dimmed since the same technique was utilized by WETA (the visual effects co.) with another digital character by the name of Gollum for the  The Lord of the Rings trilogy. It would have been good if it was not all digitized however visual effects make things so easy so I suppose it does not matter. The visual effects, unfortunately, were jarring and all too obvious that the eye was being manipulated. All in all it was crucial to highlight the emotions expressed through the facial expressions.

Lastly, the symbolic elements of the film should resonate with some moviegoers. Caesar’s rebellion will be familiar with all members of the proletariat who are exploited by the profit mongers of the bourgeois class. It will resonate with those who feel themselves to be exploited on some level simply because you can identify with Caesar’s struggle. Is it any wonder why he is called Caesar? The only way to avoid exploitation is to seize power from those who exploit you. Apart from Caesar this film is a series of sudden jolts however they came close to tackling the concept of evolution where the once dominant species disperses and new varieties take its place i.e. varieties emerge from the once dominant species and  spread thereby  assuming new forms etc and the once dominant species becomes too big and eventually declines in the face of competition from its descendants. This element is vaguely present here however it would have been good to tackle the issue related to the decline of man which would explain the rise of the planet of the apes.

What’s Bad about this film?

The story has some vulgar elements that deny it a place among the pantheon of great science fiction. The apes are aided in their quest by man’s folly which happens to be a drug that dramatically enhances brain function. One critic, Armond White, pointed out the opening scene of 2001: A Space Odyssey where the apes, which eventually become human, learn, after being  inspired by the mysterious black monolith, the process of creating tools with their hands. The inspiration is external and not internal and the presence of the object alters the consciousness of the apes who eventually become man. In this current film the influence is both internal and external and it is the internal that shed light on the external. This film would have seemed more organic without the internal element of the compound however it seems as if it is unavoidable so as to hasten the process. It does not take away from the small moments but the internal element is a great benefit since some of the apes seem to be  pumped with steroids. There is one scene for instance where apes are considered stupid and Caesar resorts to the camp element by artificially making them smart and so now they will be able to understand him. It denies us  the opportunity of absorbing what made Caesar so smart since now all the apes become smart so radically and in the flash of the moment. Caesar took years to become who he is whereas his followers take 10 seconds. This is not in reference to the social characteristics of the apes themselves which is dealt with well. The final battle therefore seems very trite for they seem like super powered apes on Caesar’s mission.  Therefore while there was the slow build up in the beginning there was also interspersed the Holly wood convenience involving rudimentary action scenes instead of a more complete idea of the subject. The potential of the premise seems to be sacrificed near the end  as the action is a  vehicle that is not developed any further. There is a sequel in the makes no doubt however the audience could have been served with a sense of the impending battle that is likely to come. The external element is necessary because all the apes should be sharing in Caesar’s glory.  As the intimate is sacrificed for the large scale battle it remains to be seen how the other apes will develop on a similar scale as Caesar as it is supposed to be a collective effort which determines the birth of a new civilization. We shall see however how they resolve this issue in the sequel.

The final scene however does not suggest that there will be a planet of the apes it seems that the apes, like the chickens in Chicken Run (2000), have discovered their  sanctuary. There does not seem to be an element in the film that suggests the rise of the planet of the apes there only seems to be a rebellion and nothing more which is why an elaboration of Caesar’s manifesto would have been helpful in  understanding the direction he intends to take with his followers. The end only suggests that they are free not that they intend to take over; in this case it is another element independent of the apes that will help them to conquer although that negative element of the compound which affects man cannot solely wipe out the human race. The element which you will discover near the end comes across as superficial and vulgar to excuse the fact that Caesar does not have a manifesto. If they worded the title differently then I would not have expected much from the film however by the end you have no idea of any planet of the apes. I am not even sure that Caesar himself is aware of what he wants to do for the end suggests that once he has arrived at this particular place it is the end of his quest. Is that the planet?

 This is why the earlier versions of the planet of the apes found the apes in control of their own planet independent of man for to explain the context of the foundation of a new planet of the apes a clear manifesto is required. We will get that in the inevitable sequel however it is not clear since Caesar is more concerned about his emotional reaction to events. Even the final shot does not suggest that there is an impending conflict. The film was simply abbreviated with no sense of direction apart from the Caesar element which suggests that they focused solely on the subjective while not embracing the objective. It is clear that the apes will not conquer in Caesar’s time so why focus the story exclusively on him? Are we to believe that by the end of the next sequel mankind would have crumbled and the apes will take over our ruined world which they will have to rebuild? 2001: A Space Odyssey made a postulation and stuck to its manifesto and although some people were confused one cannot deny the concept of evolution over millions of years. In this film revolution is a simple rebellion based on the presentation however it was to result in the birth of something new or something that will challenge our perception of the world in the form of a new society however this is not forthcoming here.  In Kubrick’s masterpiece it was a postulation about man’s future in the world and that was its manifesto having carried through to the end. They conveniently avoided these high ideals in this film because it will be difficult to resolve without simplifying and vulgarizing the issue in the sequel for it would not have been possible to show the actual birth of a new society in this film based on the subjective presentation of Caesar. I will be surprised to see them pull it off without people questioning the credibility of the premise. If they do pull it off it will be good to see how the upcoming director will tackle, realistically, the element that is involved in world takeover. Caesar is smart but smart is not enough. When the credits roll there is a simple element near the end which will see the end of mankind.  It seems we forgot about quarantine.  As no one knows what brought about the extinction of the dinosaurs how are we to know why man will become extinct. I will love to see the director tackle this issue. This is why I wished the film would have tackled the issue related to the decline of man; it instead focuses on the members in the laboratory instead of making it an objective discourse on the future of mankind. In the film he should have included this element which would have helped the audience to see why man is doomed to give way to a new variety of species which will eventually supersede it. If they do not do this for the sequel it will be a failure with the vulgar elements already inherent in the presentation of this film coming to the fore. They should strive for the objective.