Stanley Kubrick’s Dr. Strangelove portrays a comedic, albeit dark, side to the Cold War. The film has been on my to-watch list since I saw Kubrick’s on-screen depiction of one of my favorite books, A Clockwork Orange. Although I still prefer A Clockwork Orange, Dr. Strangelove did not disappoint. Although many observations could be made about how the movie portrays war, peace, and the human condition, one thing for certain could not be missed: the male-centric plot and the sexualized phallic symbolism through missiles and firearms.

It was my impression that this imagery was meant to emphasize a tense love [war] affair between the U.S.A. and U.S.S.R, Uncle Sam and Mother Russia. This could be especially noted in one of the scenes in the war room in which Turgidson receives a call from Miss Scott during an important meeting, during which he reassures her in a hushed tone, that of a patronizing man talking down to a hysterical woman, “Of course it isn’t only physical! I deeply respect you as a human being!”

In a later scene, this tone is mirrored when the president of the U.S. calls to explain the bomb situation to the president of the U.S.S.R., for which he starts off civil and reassuring but then exasperatedly rants,”Of course I like to speak to you! Of course I like to say hello!”

“Well listen, how do you think I feel about it, Dimitri?!”

The scene shows the absurd nature of the war and tension between the two nations by portraying what we all imagine should be a civil, rational conversation as a heated lovers’ quarrel. Although this is deeply disturbing, the humor behind this was not lost, and the film left a sweet-turned sour taste in my mouth, pretty standard for a Kubrick film.