John Newton 1725-1807 “Amazing grace, how sweet the sound.” So begins one of the most beloved hymns of all times, a staple in the hymnals of many denominations, New Britain or “45 on the top” in Sacred Harp. The author of the words was John Newton, the self-proclaimed wretch who once was lost but then was found, saved by amazing grace. Newton was born in London July 24, 1725, the son of a commander of a merchant ship which sailed the Mediterranean.

When John was eleven, he went to sea with his father and made six voyages with him before the elder Newton retired. In 1744 John was impressed into service on a man-of-war, the H. Finding conditions on board intolerable, he deserted but was soon recaptured and publicly flogged and demoted from midshipman to common seaman. Finally at his own request he was exchanged into service on a slave ship, which took him to the coast of Sierra Leone.

He then became the servant of a slave trader and was brutally abused. Early in 1748 he was rescued by a sea captain who had known John's father. John Newton ultimately became captain of his own ship, one which plied the slave trade.

Although he had had some early religious instruction from his mother, who had died when he was a child, he had long since given up any religious convictions. However, on a homeward voyage, while he was attempting to steer the ship through a violent storm, he experienced what he was to refer to later as his “great deliverance.” He recorded in his journal that when all seemed lost and the ship would surely sink, he exclaimed, “Lord, have mercy upon us.” Later in his cabin he reflected on what he had said and began to believe that God had addressed him through the storm and that grace had begun to work for him. For the rest of his life he observed the anniversary of May 10, 1748 as the day of his conversion, a day of humiliation in which he subjected his will to a higher power. “Thro’ many dangers, toils and snares, I have already come; ’tis grace has bro’t me safe thus far, and grace will lead me home.” He continued in the slave trade for a time after his conversion; however, he saw to it that the slaves under his care were treated humanely. In 1750 he married Mary Catlett, with whom he had been in love for many years.

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By 1755, after a serious illness, he had given up seafaring forever. During his days as a sailor he had begun to educate himself, teaching himself Latin, among other subjects.

From 1755 to 1760 Newton was surveyor of tides at Liverpool, where he came to know George Whitefield, deacon in the Church of England, evangelistic preacher, and leader of the Calvinistic Methodist Church. Newton became Whitefield’s enthusiastic disciple.

During this period Newton also met and came to admire John Wesley, founder of Methodism. Newton’s self-education continued, and he learned Greek and Hebrew. He decided to become a minister and applied to the Archbishop of York for ordination. The Archbishop refused his request, but Newton persisted in his goal, and he was subsequently ordained by the Bishop of Lincoln and accepted the curacy of Olney, Buckinghamshire.

Newton’s church became so crowded during services that it had to be enlarged. He preached not only in Olney but in other parts of the country. In 1767 the poet William Cowper settled at Olney, and he and Newton became friends.

Cowper helped Newton with his religious services and on his tours to other places. They held not only a regular weekly church service but also began a series of weekly prayer meetings, for which their goal was to write a new hymn for each one. They collaborated on several editions of Olney Hymns, which achieved lasting popularity. The first edition, published in 1779, contained 68 pieces by Cowper and 280 by Newton. Among Newton’s contributions which are still loved and sung today are “How Sweet the Name of Jesus Sounds” and ”Glorious Things of Thee Are Spoken,” as well as “Amazing Grace.” Composed probably between 1760 and 1770 in Olney, ”Amazing Grace” was possibly one of the hymns written for a weekly service.

Through the years other writers have composed additional verses to the hymn which came to be known as “Amazing Grace” (it was not thus entitled in Olney Hymns), and possibly verses from other Newton hymns have been added. However, these are the six stanzas that appeared, with minor spelling variations, in both the first edition in 1779 and the 1808 edition, the one nearest the date of Newton’s death. It appeared under the heading Faith’s Review and Expectation, along with a reference to First Chronicles, chapter 17, verses 16 and 17 [ see the for this Scripture – Graham Pockett]. Amazing grace! (how sweet the sound) That sav’d a wretch like me!

I once was lost, but now am found, Was blind, but now I see. ’Twas grace that taught my heart to fear, And grace my fears reliev’d; How precious did that grace appear, The hour I first believ’d! Thro’ many dangers, toils and snares, I have already come; ’Tis grace has brought me safe thus far, And grace will lead me home. The Lord has promis’d good to me, His word my hope secures; He will my shield and portion be, As long as life endures.

Yes, when this flesh and heart shall fail, And mortal life shall cease; I shall possess, within the veil, A life of joy and peace. The earth shall soon dissolve like snow, The sun forbear to shine; But God, who call’d me here below, Will be forever mine. The origin of the melody is unknown. Most hymnals attribute it to an early American folk melody. The Bill Moyers special on “Amazing Grace” speculated that it may have originated as the tune of a song the slaves sang. Newton was not only a prolific hymn writer but also kept extensive journals and wrote many letters.

Historians accredit his journals and letters for much of what is known today about the eighteenth century slave trade. In Cardiphonia, or the Utterance of the Heart, a series of devotional letters, he aligned himself with the Evangelical revival, reflecting the sentiments of his friend John Wesley and Methodism. In 1780 Newton left Olney to become rector of St.

Mary Woolnoth, St. Mary Woolchurch, in London. There he drew large congregations and influenced many, among them William Wilberforce, who would one day become a leader in the campaign for the abolition of slavery. Newton continued to preach until the last year of life, although he was blind by that time. He died in London December 21, 1807. Infidel and libertine turned minister in the Church of England, he was secure in his faith that amazing grace would lead him home.

Author’s Note: I was able to consult the 1779 edition of Olney Hymns in the Harry Ransom Humanities Research Center of the University of Texas at Austin. Printed in London by W.

Oliver, it was in beautiful condition. The paper was almost as white and supple as it was when it came off the printing press. Those were the days before acid became a part of the papermaking process. Acidic paper, used in most books since sometime in the nineteenth century, has a relatively short life span, ultimately becoming brittle and crumbling. The 1779 Olney Hymns, on the other hand, will be in excellent condition for many future generations of Newton and Cowper scholars. It was a thrill to handle the edition of Olney Hymns in which the hymn that came to be known as Amazing Grace was first published. But it was an even greater thrill when I opened the front cover and saw the inscription, “Rev.

Smith, the gift of the author.” The ‘Wm.’' is unclear, but ‘Rev.’ and ‘Smith’ are very distinct. Of course, both Newton and Cowper contributed to Olney Hymns, but considering that Newton's contributions were far greater in number than Cowper’s, it is likely that Newton himself was the author mentioned in the inscription. I consulted other editions of Olney Hymns in microprint in the University General Libraries Microforms Unit. Microforms are very necessary adjuncts to scholarship, since no library can possibly have all the hundreds of thousands of rare and not so rare books available in microform, but those microprint editions of Olney Hymns were cold and sterile compared with the 1779 edition that I had held and that John Newton had held over two hundred years before me. Reprinted with permission from the author. More Information About John Newton collected by Graham Pockett (editor ) While Amazing Grace has a reference to 1Chronicles 17:16-17 in the Onley hymnal (see for that Scripture), it is more likely to be based on Ephesians 2:4-9, Paul's great treatise on Grace, which says: But because of his great love for us, God, who is rich in mercy, made us alive with Christ even when we were dead in transgressions – it is by grace you have been saved. And God raised us up with Christ and seated us with him in the heavenly realms in Christ Jesus, in order that in the coming ages he might show the incomparable riches of his grace, expressed in his kindness to us in Christ Jesus.

For it is by grace you have been saved, through faith – and this not from yourselves, it is the gift of God – not by works, so that no one can boast. [NIV] Other sources of information: • – the complete lyrics of this hymnal (in a variety of formats including HTML, PDF, Microsoft Word, Palm eBook, plain text, etc). It includes the hymn, 'Amazing Grace' (Book 1, Hymn 41), one of 348 hymns listed and presented in three books.

• – sheet music in PDF format (courtesy of ). This is a 21kB file – to download, right-click on this link and select 'Save Target As.' Or 'Save Link As.' Depending on your Web browser.

• – more information about John Newton, and the famous 18th century poet, letter-writer and classical scholar, William Cowper. • – a biography on John Newton, written by Josiah Bull in 1868 (reprinted by and placed in the Public Domain in 1998).

• – a searchable PDF facsimile of this early book (published in 1806) which says that it is 'an authentic narritive of some remarkabble and interesting particulars' in John Newton's life. This document can be read on-line through your Web browser or downloaded to your computer by right-clicking on the link and selecting 'save' (or similar). The file is 10MB in size. It can also be downloaded as a (8.93MB) • – a downloadable tract in PDF format. • the movie – an historical movie looking at the British-led movement to free the slaves.

• by Roy Cooper – the life and redemption of John Newton put to song (also available with lyrics on ). • Download, a midi version (in zip file format). To download, right-click on this link and select 'Save Target As.' Or 'Save Link As.' Depending on your Web browser. Amazing grace! How sweet the sound That saved a wretch like me.

I once was lost, but now am found, Was blind, but now I see. ’Twas grace that taught my heart to fear, And grace my fears relieved. How precious did that grace appear The hour I first believed. Through many dangers, toils and snares I have already come; ’Tis grace hath brought me safe thus far And grace will lead me home. The Lord has promised good to me His word my hope secures; He will my shield and portion be, As long as life endures. Yea, when this flesh and heart shall fail, and mortal life shall cease, I shall possess within the veil, A life of joy and peace.

The earth shall soon dissolve like snow, The sun forbear to shine; But God, who call'd me here below, Will be forever mine. Some versions include an additional verse. Adobe Photoshop Top Secret Pdf Converter here. When we've been there ten thousand years, Bright shining as the sun, We've no less days to sing God's praise Than when we'd first begun. As you can see from the original version above, this verse is not by John Newton. According to it was originally from a hymn called 'Jerusalem, My Happy Home'.

It was added to a version of 'Amazing Grace' by Harriet Beecher Stowe, as it appears in her novel 'Uncle Tom's Cabin'. In the novel, Uncle Tom joined the lyrics of several hymns together and those who learned the lyrics from that source have assumed that it was part of the original. Some versions also include. Shall I be wafted through the skies, On flowery beds of ease, Where others strive to win the prize, And sail through bloody seas. Says that this verse has been recorded by Pete Seeger and Arlo Guthrie.

It states that the verse really belongs with the hymn, 'Am I a Soldier of the Cross?' By Isaac Watts. John Newton’s Epitaph: The epitaph on John Newton's gravestone says: JOHN NEWTON, Clerk [preacher] Once an infidel and libertine A servant of slaves in Africa, Was, by the rich mercy of our Lord and Saviour JESUS CHRIST, restored, pardoned and appointed to preach the Gospel which he had long laboured to destroy. He ministered, Near sixteen years in Olney, in Bucks, And twenty eight years in this Church. Written by John Newton, it is engraved on a marble plaque in St Mary, Woolnoth, UK.

Strangelove, trailer Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, more commonly known as Dr.

Strangelove, is a 1964 film that satirizes the fears of a nuclear conflict between the and the. The film was directed, produced, and co-written by, stars and, and features,, and.

Production took place in the. The film is loosely based on 's novel (1958). The story concerns an unhinged general who orders a on the. It follows the, his advisers, the, and a (RAF) officer as they try to recall the bombers to prevent a. It separately follows the crew of one bomber as they try to deliver their payload. In 1989, the United States included Dr.

Strangelove in the first group of films selected for preservation in the. It was listed as number three on list. Ripper tells Mandrake that he discovered the Communist plot to pollute Americans' 'precious bodily fluids' during 'the physical act of love.' General Ripper orders his, Lionel Mandrake of the UK, to put the base on alert. Ripper also issues 'Wing Attack Plan R' to the patrolling aircraft, one of which is commanded by Major T. All of the aircraft commence an attack flight on Russia and set their radios to allow communications only through the discriminator, which is programmed to accept only communications preceded by a secret three-letter code known only to General Ripper. Mandrake discovers that no war order has been issued by the Pentagon and tries to stop Ripper, who locks them both in his office.

Ripper tells Mandrake that he believes the Soviets have been using of United States water supplies to pollute the 'precious bodily fluids' of Americans. Mandrake now realizes that Ripper is insane. In the at the Pentagon, General Buck Turgidson briefs President Merkin Muffley and other officers about how Plan R enables a senior officer to launch a strike against the Soviets if on Turgidson reports that his men are trying every possible three-letter CRM code to issue the stand-down order, but that could take over two days and the planes are due to reach their targets in about an hour. Muffley orders the Army chief to storm the base and arrest General Ripper. Turgidson attempts to convince Muffley to let the attack continue, but Muffley refuses to be party to a nuclear. Instead, he brings Soviet ambassador Alexei de Sadeski into the War Room, to telephone Dimitri Kissov on the '.

Muffley warns the Premier of the impending attack and offers to reveal the planes' positions and targets so the Russians can protect themselves. After a heated discussion in Russian with the Premier, the ambassador informs President Muffley that the Soviet Union has created a, which consists of many buried connected to a computer network set to detonate them automatically should any nuclear attack strike the country. Within two months after detonation, the Cobalt-Thorium G would encircle the earth in a radioactive 'doomsday shroud', wiping out all human and animal life, rendering the surface of the earth uninhabitable for 93 years. The device cannot be dismantled or 'untriggered', as it is programmed to explode if any such attempt is made. When the President's wheelchair-bound scientific advisor, former Dr.

Strangelove points out that such a doomsday device would only be an effective deterrent if everyone knew about it, de Sadeski replies that the Russian Premier had planned to reveal its existence to the world the following week. Meanwhile, forces arrive at Burpelson, still sealed by Ripper's order, and soon take over the base. Ripper kills himself, while Mandrake identifies Ripper's CRM code from his desk blotter ('OPE,' a variant of both Peace on Earth and Purity of Essence) and relays this code to the Pentagon. Using the recall code, SAC successfully recalls all of the aircraft except one. No one in the War Room knows that a has ruptured the fuel tank of that plane and destroyed its communications device, making it impossible to recall this particular plane even with the correct recall code.

Aircraft commander Major T. Kong riding the bomb down. Muffley discloses the plane's target to help the Soviets find it, but Major Kong, his fuel dwindling, has selected a closer target. As the plane approaches the new target, the crew is unable to open the damaged bomb bay doors. Major Kong enters the bomb bay and repairs the broken electric wiring, whereupon the doors open. With Kong straddling it like a rodeo bull, the bomb falls and detonates.

In the War Room, Dr. Strangelove recommends that the President gather several hundred thousand people to live in deep mineshafts where the radiation will not penetrate. He suggests a 10:1 female-to-male ratio for a breeding program to repopulate the Earth when the radiation has subsided. Turgidson, worried that the Soviets will do the same, warns about a 'mineshaft gap.'

Strangelove comes out of his wheelchair and loudly announces that he can walk again. Just then the doomsday device kicks into operation and the film ends with a montage of nuclear detonations, accompanied by 's version of the World War II-era song '. Cast and characters [ ] • as: • Lionel Mandrake, a British • President Merkin Muffley, the • Dr. Strangelove, the wheelchair-using expert and former • as General Buck Turgidson, a and • as Brigadier General Jack D. Ripper, a and commander • as Colonel Bat Guano, the Army officer who finds Mandrake and the dead Ripper • as Major T. 'King' Kong, the bomber's commander and pilot • as Soviet Ambassador Alexei de Sadeski • as Lieutenant Lothar Zogg, the B-52's • as Miss Scott, General Turgidson's secretary and, the film's only female character.

Reed also appears as 'Miss Foreign Affairs,' the in the June 1962 issue of magazine that Major Kong (Slim Pickens) is perusing just before he is notified of the radio message ordering “Wing Attack – Plan R” by Lt. 'Goldie' Goldberg (Paul Tamarin).

Ace Owens, the B-52 co-pilot Peter Sellers's multiple roles [ ] agreed to finance the film if played at least four major roles. The condition stemmed from the studio's opinion that much of the success of Kubrick's previous film (1962) was based on Sellers's performance in which his single character assumes a number of identities.

Sellers had also played three roles in (1959). Kubrick accepted the demand, later explaining that 'such crass and grotesque stipulations are the of the motion-picture business'. Proposed the strategy of The character is an amalgamation of strategist, mathematician and principal, rocket scientist (a central figure in Nazi Germany's rocket development program recruited to the US after the war), and, the 'father of the '. There is a common misconception that the character was based on, but Kubrick and Sellers denied this; Sellers said, 'Strangelove was never modeled after Kissinger—that's a popular misconception. It was always Wernher von Braun.' Furthermore, Henry Kissinger points out in his memoirs that at the time of the writing of Dr. Strangelove, he was an unknown academic.

[ ] The wheelchair-using Strangelove furthers a Kubrick trope of the menacing, seated antagonist, first depicted in through the character 'Dr. Strangelove's accent was influenced by that of Austrian-American photographer, who worked for Kubrick as a special photographic effects consultant. Strangelove's appearance echoes the mad scientist archetype as seen in the character in 's film (1927).

Sellers's Strangelove takes from Rotwang the single black gloved hand (which, in Rotwang's case is mechanical, because of a lab accident), the wild hair and, most importantly, his ability to avoid being controlled by political power. According to Alexander Walker, Sellers improvised Dr. Strangelove's lapse into the, borrowing one of Kubrick's black leather gloves for the uncontrollable hand that makes the gesture. Strangelove apparently suffers from. Kubrick wore the gloves on the set to avoid being burned when handling hot lights, and Sellers, recognizing the potential connection to Lang's work, found them to be menacing. Slim Pickens as Major T.

'King' Kong [ ]. Wing Attack Plan R, fresh from the cockpit's safe, allows a nuclear strike without the President's authorization., an established and veteran of many Western films, was eventually chosen to replace Sellers as Major Kong after Sellers's injury. Terry Southern's biographer, Lee Hill, said the part was originally written with in mind, and that Wayne was offered the role after Sellers was injured but he immediately turned it down. Of the western television series was approached to play the part, but according to, Blocker's agent rejected the script as being 'too '. Kubrick then recruited Pickens, whom he knew from his brief involvement in a western film project that was eventually filmed as. Fellow actor recalls, 'He was Major Kong on and off the set—he didn't change a thing—his temperament, his language, his behavior.' Pickens was not told that the movie was a comedy and was only given the script for scenes he was in, to get him to play it 'straight'.

Kubrick biographer John Baxter explains, in the documentary Inside the Making of Dr. Strangelove: As it turns out, Slim Pickens had never left the United States. He had to hurry and get his first passport. He arrived on the set, and somebody said, 'Gosh, he's arrived in costume!' , not realizing that that's how he always dressed. With the cowboy hat and the fringed jacket and the cowboy boots—and that he wasn't putting on the character—that's the way he talked.

Pickens, who had previously played only minor supporting and character roles, said his appearance as Maj. Kong greatly improved his career. He later commented, 'After Dr. Strangelove the roles, the dressing rooms and the checks all started getting bigger.' Scott as General Buck Turgidson [ ].

General Buck Turgidson imitating a low-flying B-52 'frying chickens in a barnyard' Kubrick tricked Scott into playing the role of Gen. Turgidson far more ridiculously than Scott was comfortable doing. Kubrick talked Scott into doing over the top 'practice' takes, which Kubrick told Scott would never be used, as a way to warm up for the 'real' takes.

Kubrick used these takes in the final film, causing Scott to swear never to work with Kubrick again. During the filming, Kubrick and Scott had different opinions regarding certain scenes, but Kubrick got Scott to conform largely by repeatedly beating him at chess, which they played frequently on the set.

Scott, a skilled player himself, later said that while he and Kubrick may not have always seen eye to eye, he respected Kubrick immensely for his skill at chess. [ ] Production [ ] Novel and screenplay [ ] started with nothing but a vague idea to make a thriller about a nuclear accident that built on the widespread fear for survival. While doing research, Kubrick gradually became aware of the subtle and paradoxical ' between nuclear powers. At Kubrick's request, (the head of the ) recommended the thriller novel. Kubrick was impressed with the book, which had also been praised by and future winner in an article written for the and reprinted in, and immediately bought the film rights.

In 2006, Schelling wrote that conversations between Kubrick, Schelling, and George in late 1960 about a treatment of Red Alert updated with intercontinental missiles eventually led to the making of the film. In collaboration with George, Kubrick started writing a screenplay based on the book. While writing the screenplay, they benefited from some brief consultations with Schelling and, later,.

In following the tone of the book, Kubrick originally intended to film the story as a serious drama. However, as he later explained during interviews, he began to see comedy inherent in the idea of as he wrote the first draft. Kubrick said: My idea of doing it as a nightmare comedy came in the early weeks of working on the screenplay. I found that in trying to put meat on the bones and to imagine the scenes fully, one had to keep leaving out of it things which were either absurd or paradoxical, in order to keep it from being funny; and these things seemed to be close to the heart of the scenes in question. Among the titles that Kubrick considered for the film were Dr.

Doomsday or: How to Start World War III Without Even Trying, Dr. Strangelove's Secret Uses of Uranus, and Wonderful Bomb. After deciding to make the film a black comedy, Kubrick brought in as a co-writer in late 1962. The choice was influenced by reading Southern's comic novel, which Kubrick had received as a gift from Peter Sellers, and which itself became a Sellers film in 1969. Southern made important contributions to the film, but his role led to a rift between Kubrick and Peter George; after magazine published a photo-essay on Southern in August 1964 which implied that Southern had been the script's principal author—a misperception neither Kubrick nor Southern did much to dispel—Peter George wrote an indignant letter to the magazine, published in its September 1964 issue, in which he pointed out that he had both written the film's source novel and collaborated on various incarnations of the script over a period of ten months, whereas 'Southern was briefly employed.

To do some additional rewriting for Kubrick and myself and fittingly received a screenplay credit in third place behind Mr. Kubrick and myself'. Sets and filming [ ] Dr. Strangelove was filmed at, near, as Sellers was in the middle of a divorce at the time and unable to leave England.

The sets occupied three main: the Pentagon War Room, the B-52 Stratofortress bomber and the last one containing both the motel room and General Ripper's office and outside corridor. The studio's buildings were also used as the Air Force base exterior.

The film's set design was done by, the production designer of several (at the time he had already worked on ). The cinematography was by, and the film was edited by and (uncredited). The original musical score for the film was composed by and the special effects were by Wally Veevers.

The theme of the chorus from the bomb run scene is a modification of. Sellers and Kubrick got on famously during the film's production and shared a love of photography. The cream pie fight was removed from the final cut. It was originally planned for the film to end with a scene that depicted everyone in the war room involved in a.

Accounts vary as to why the pie fight was cut. In a 1969 interview, Kubrick said, 'I decided it was and not consistent with the satiric tone of the rest of the film.' Critic observed that 'the cream pies were flying around so thickly that people lost definition, and you couldn't really say whom you were looking at.' Nile Southern, son of screenwriter Terry Southern, suggested the fight was intended to be less jovial: 'Since they were laughing, it was unusable, because instead of having that totally black, which would have been amazing, like, this blizzard, which in a sense is metaphorical for all of the missiles that are coming, as well, you just have these guys having a good old time. So, as Kubrick later said, 'it was a disaster of proportions.' ' Effects of the Kennedy assassination on the film [ ] A first test screening of the film was scheduled for November 22, 1963, the day of the.

The film was just weeks from its scheduled premiere, but because of the assassination, the release was delayed until late January 1964, as it was felt that the public was in no mood for such a film any sooner. One line by Slim Pickens, 'a fella could have a pretty good weekend in Dallas with all that stuff', was dubbed to change 'Dallas' to ' since Dallas was where Kennedy was killed. The original reference to Dallas survives in the English audio of the French-subtitled version of the film. The assassination also serves as another possible reason that the pie-fight scene was cut. In the scene, after Muffley takes a pie in the face, General Turgidson exclaims: 'Gentlemen! Our gallant young president has been struck down in his prime!'

Editor Anthony Harvey stated that the scene 'would have stayed, except that Columbia Pictures were horrified, and thought it would offend the president's family.' Kubrick and others have said that the scene had already been cut before preview night because it was inconsistent with the rest of the film. 1994 re-release [ ] In 1994 the film was re-released. While the 1964 release used the 1.85:1 aspect ratio, the new print was in the slightly squarer 1.66:1 (5:3) ratio that Kubrick had originally intended.

Themes [ ] Satirizing the Cold War [ ] Dr. Strangelove takes passing shots at numerous contemporary attitudes, such as the ', but it primarily focuses its satire on the theory of (MAD), in which each side is supposed to be deterred from a nuclear war by the prospect of a universal cataclysmic disaster regardless who 'won'. Military strategist and former physicist in the book, (1960) used the theoretical example of a to illustrate the limitations of MAD, which was developed. The concept of such a machine is consistent with MAD doctrine, when it is logically pursued to its conclusion. It thus worried Kahn that the military might like the idea of a doomsday machine and build one. Kahn, a leading critic of MAD and 's doctrine of upon the slightest provokation by the USSR, considered MAD foolish bravado, and instead urged America to plan for and thus, even a limited nuclear war. With this logical reasoning, Kahn became one of the architects of the doctrine, that while superficially resembling MAD, allowed for responding to a limited nuclear strike, with a proportional or calibrated, return of fire (see ).

Kahn would educate Kubrick on the concept of the semi-realistic doomsday machine and Kubrick then used the concept for the film. Kahn in his writings and talks would often come across as cold and calculating, for example, with his use of the term and in his willingness to estimate how many human lives the United States could lose and still rebuild economically, but it was unfair, as he was not really advocating nuclear warfare. (He simply meant that if it came to nuclear war, there might, in fact, be a limited one, and options should be kept open.) Kahn's cold analytical attitude towards millions of deaths is reflected in Turgidson's remark to the president about the outcome of a preemptive nuclear war: 'Mr. President, I'm not saying we wouldn't get our hair mussed. But I do say no more than ten to twenty million killed, tops, uh, depending on the breaks.' Turgidson has a binder that is labelled 'World Targets in ', a term coined in 1953 by Kahn and popularized in his 1960 book On Thermonuclear War. The planning in the film, by Dr.

Strangelove, done after the MAD policy has clearly broken down, to keep the human race alive and to regenerate from populations sheltered in, is a parody of those strict adherents of the MAD doctrine who are opposed to the prior creation of on ideological grounds. To such adherents, talk of survival takes the 'Assured Destruction' out of 'Mutual Assured Destruction', hence no preparations should be conducted for fear of 'destabilizing' the MAD doctrine.

Moreover, it is also somewhat of a parody of,, Herman Kahn, and 's November 1961 popularization of a similar plan to spend billions of dollars on a nationwide network of concrete-lined underground fallout shelters, capable of holding millions of people and to be built before any such nuclear exchange began. These extensive and therefore wildly expensive preparations were the fullest conceivable implementation of 's, month prior, September 1961 advocacy in favor of the comparatively more modest, individual and community, as it appeared in magazine, which was in the context of due to the. The Kennedy administration would later go on to expand the nascent efforts, including the and to create a network of thousands of well known, black and yellow plaqued, community fallout shelters. This was done, not with a massive construction effort but by the relatively cheap re-purposing of existing buildings and stocking them with etc. In 1962 the Kennedy administration would found the to organize this, comparatively far more.

The fallout-shelter-network proposal, mentioned in the film, with its inherently high characteristics, has similarities and contrasts to that of the very real and robust network. Switzerland has an overcapacity of nuclear fallout shelters for the country's population size, and by law, new homes must still be built with a fallout shelter. If the US did that, it would violate the spirit of MAD and according to MAD adherents, allegedly destabilize the situation because the US could launch a and its population would largely survive a retaliatory second strike. (See ) To refute early 1960s novels and Hollywood films like Fail-Safe and Dr.

Strangelove, which raised questions about US control over nuclear weapons, the Air Force produced a documentary film,, to demonstrate its responsiveness to presidential command and its tight control over nuclear weapons. The Ripper character showed similarities to the real-life General. Sexual themes [ ] In the months following the film's release director Stanley Kubrick received a fan letter from Legrace G. Benson of the Department of History of Art at interpreting the film as being sexually-layered. The director wrote back to Benson and confirmed the interpretation, 'Seriously, you are the first one who seems to have noticed the sexual framework from intromission (the planes going in) to the last spasm (Kong's ride down and detonation at target).' Sexual metaphors often popped up when the nuclear analysts that Kubrick consulted were discussing strategy, such as when compared his not attacking cities/withhold plan following belligerent escalation to in an internally circulated at the (spoofed in the film as the 'BLAND Corporation'), while he described the plan of as 'going all the way'. That led RAND scholar Herman Kahn, whom Kubrick consulted, to to an assembled group of 'massive retaliation' SAC officers, 'Gentlemen, you do not have a.

You have a '. Reception [ ] Box office [ ] The film was a popular success, earning 4,420,000 in rentals in North America during its initial theatrical release. Critical response [ ] Dr. Strangelove is Kubrick's highest rated film on, holding a 99% approval rating (based on 73 reviews) with an average rating of 9.1/10. The site's critical consensus reads, 'Stanley Kubrick's brilliant Cold War satire remains as funny and razor-sharp today as it was in 1964.' The film also holds a score of 96 out of 100 on, based on 11 reviews, indicating 'universal acclaim.' The film is ranked number 7 in the All-Time High Scores chart of Metacritic's Video/DVD section.

It was selected for preservation in the United States. Strangelove is on 's list of, and he described it as 'arguably the best political satire of the century'. One of the most celebrated of all film comedies, it is the only one that made the top 10 in the 2002 Sight & Sound directors' poll, and John Patterson of The Guardian wrote, 'There had been nothing in comedy like Dr Strangelove ever before. All the gods before whom the America of the stolid, paranoid 50s had genuflected – the Bomb, the Pentagon, the National Security State, the President himself, Texan masculinity and the alleged Commie menace of water-fluoridation – went into the wood-chipper and never got the same respect ever again.' It is also listed as number 26 on, and in 2010 it was listed by magazine as one of the 100 best films since the publication's inception in 1923. The ranked its screenplay the 12th best ever written. In 2000, readers of magazine voted it the 24th greatest comedic film of all time.

Awards and honors [ ] The film was nominated for four and also seven Awards, of which it won four. Nominations •: •:, Peter George, Terry Southern •: Stanley Kubrick • • Best British Actor: Peter Sellers (nom) • Best British Art Direction (Black and White): Ken Adam (won) • Best British Film (won) • Best British Screenplay: Stanley Kubrick, Peter George, Terry Southern (nom) • Best Film From Any Source (won) • Best Foreign Actor: Sterling Hayden (nom) • UN award In addition, the film won the best written American comedy award from the, a, and the of the.

Kubrick won two awards for best director, from the and the Italian National Syndicate of Film Journalists, and was nominated for one by the. The film ranked #32 on 's list of the 50 Greatest Movies on TV (and Video). Included the film as #26 in, #3 in, #64 in ('Gentlemen, you can't fight in here! This is the War Room!' ) and #39 in. Potential sequel [ ] In 1995, Kubrick enlisted to script a sequel titled Son of Strangelove.

Kubrick had in mind to direct. The script was never completed, but index cards laying out the story's basic structure were found among Southern's papers after he died in October 1995.

It was set largely in underground bunkers, where Dr. Strangelove had taken refuge with a group of women.

In 2013, Gilliam commented, 'I was told after Kubrick died—by someone who had been dealing with him—that he had been interested in trying to do another Strangelove with me directing. I never knew about that until after he died but I would have loved to.' See also [ ]. Retrieved July 6, 2013. Retrieved November 13, 2014. Retrieved November 13, 2014. • Kramer, Peter (2014)..

Palgrave Macmillan.. Retrieved February 27, 2015.

Slate (magazine). March 9, 1999.

Retrieved February 13, 2016. • The distinctive bikinied torso on the cover dates this as the real June 1962 issue, which features the pictorial 'A Toast to Bikinis' (being a play on the ), shown as the pinups on the inside of the B-52's safe door. Stillman,, 2008. • For the pose, Reed lay flat on her chest and had the January 1963 (Vol. 2) issue of covering her buttocks.

Despite this modest pose, was furious. In the novel and advertising posters, the Playboy model is identified as 'Miss Foreign Affairs'. Brian Siano,, 1995 and 'Inside the Making of Dr.

Strangelove,' a documentary included with the 40th Anniversary Special Edition DVD of the film. • ^ Terry Southern,, Grand Street, issue #49 • ^ Lee Hill,: interview with Terry Southern • Tulsa TV Memories. • In the fictionalized biopic, it is suggested that Sellers faked the injury as a way to force Kubrick to release him from the contractual obligation to play this fourth role. • ^ 'Inside the Making of Dr. Strangelove,' a documentary included with the 40th Anniversary Special Edition DVD of the film • Dan Geddes, '; The Satirist, December 2011. • Beverly Merrill Kelley, Reelpolitik II: Political Ideologies in '50s and '60s Films; Oxford: Rowman & Littlefield, 2004; p..

• Jeffrey Townsend, et al., 'Red Alert' in John Tibbetts & James Welsh (eds), The Encyclopedia of Novels into Films, New York, 1999, pp. 183–186 • Paul Boyer, 'Dr. Strangelove' in Mark C. Carnes (ed.), Past Imperfect: History According to the Movies, New York, 1996.

• Starr, Michael Seth (1991). Peter Sellers: A Film History. McFarland & Company. The Criterion Collection.

• Frayling, Christopher. Mad, Bad, and Dangerous?: The Scientist and the Cinema. London: Reaktion, 2006. P.26 • ^ Lee Hill, A Grand Guy: The Life and Art of Terry Southern (Bloomsbury, 2001), pp.118–119 • at •. February 22, 1999.

Archived from on November 5, 2009. Retrieved March 6, 2010. • • James Earl Jones (November 16, 2004).. Archived from on August 17, 2012. Retrieved March 6, 2010. • July 20, 2007, at from Michel Ciment, 'Kubrick', Holt, Rinehart, and Winston; 1st American ed edition (1983), • Brian Siano,, 1995 • Alexander Walker, 'Stanley Kubrick Directs,' Harcourt Brace Co, 1972,, cited in Brian Siano,, 1995 • Phone interview with Thomas Schelling by Sharon Ghamari-Tabrizi, published in her book The Worlds of Herman Kahn; The Intuitive Science of Thermonuclear War (Harvard University Press, 2005) • ^ Terry Southern,, article written in 1963 for Esquire but unpublished at the time • Schelling, Thomas C. Strategies of Commitment and Other Essays.

Harvard University Press. • Sharon Ghamari-Tabrizi,, Harvard University Press, 2005. • Macmillan International Dictionary of Films and Filmmakers, vol. 126 • Usher, Shaun (April 3, 2012).. Lists of Note.

Retrieved April 16, 2012. • George Case (2014), Calling Dr Strangelove: The Anatomy and Influence of the Kubrick Masterpiece (McFarland & Co, Jefferson, Nth Carolina) p.118, • ^, published in Joseph Gelmis, The Film Director as Superstar, 1970, Doubleday and Company: Garden City, New York.

• Duncan, Paul, Stanley Kubrick: The Complete Films, Taschen GmbH, p. 95, • 'A Kubrick Masterclass,' interview with Sir Ken Adam by Sir Christopher Frayling, 2005; excerpts from the interview were published online at January 25, 2007, at the. And the September 29, 2006, at the. •, published in Michel Ciment, 'Kubrick,' Holt, Rinehart, and Winston; 1st American ed edition (1983), • The camera ship, a former USAAF B-17G-100-VE, serial 44-85643, registered F-BEEA, had been one of four Flying Fortresses purchased from salvage at in December 1947 by the French and converted for survey and photomapping duty. It was the last active B-17 of a total of fourteen once operated by the IGN, but it was destroyed in a takeoff accident at in 1989 during filming of the film..

USAAS-USAAC-USAAF-USAF Aircraft Serial Numbers—1908 to Present. Archived from on January 7, 2009. Retrieved May 4, 2007. Retrieved October 14, 2014. Retrieved March 24, 2016.

EBookMall, Inc. Archived from on September 27, 2007. Retrieved November 27, 2006. • Mick,, Broderick.. • Sheward, David (2008)... Retrieved October 19, 2015.

Snider, '; Seattle Post-Intelligencer, October 25, 2010. • 'No Fighting in the War Room Or: Dr. Strangelove and the Nuclear Threat', a documentary included with the 40th Anniversary Special Edition DVD of the film • LoBrutto, Vincent. 'Stanley Kubrick: A Biography'. Da Capo Press, 1995, p.

250 • King, Mike (2009). The American cinema of excess: extremes of the national mind on film. • See On Thermonuclear War pp. 144–155 • Encyclopedia of American Foreign Policy, Volume 1.

Simon and Schuster. • Craig, Nelson (2014).. • magazine November 1961 pages 112–115 et al. • • Ball, Deborah (June 25, 2011).. The Wall Street Journal. • Foulkes, Imogen (February 10, 2007).. • • (10 October 2004)...

Retrieved 18 October 2017. It would have been obvious to many viewers in 1964 -- that General Ripper looked a lot like Curtis LeMay, the cigar-chomping, gruff-talking general who headed the Strategic Air Command through the 1950's and who served as the Pentagon's in the early 60's. • Castle, Alison (2008). The Stanley Kubrick Archives. • Kaplan, Fred The Wizards of Armageddon. Stanford, California: Stanford University Press, 1991, 222–223 • 'Big Rental Pictures of 1964', Variety, January 6, 1965 p 39.

Note this figure is rentals accruing to distributors, not total gross. Retrieved November 30, 2016. Retrieved August 22, 2010. Retrieved August 22, 2010.

• Roger Ebert,, July 11, 1999 • Potemra, Michael (May 20, 2014).. National Review. Retrieved December 15, 2016. • December 29, 2007, at the.

(no longer available as of February 1, 2015) • Patterson, John (October 18, 2010).. The Guardian. Retrieved December 15, 2016. • Schickel, Richard (January 13, 2010).. Retrieved December 15, 2016. Writers Guild of America, West.

Retrieved December 15, 2016. Academy of Motion Picture Arts and Sciences.

Retrieved August 24, 2011. • 'The 50 Greatest Movies on TV (and Video)'.. TV Guide Magazine. 1998. access-date= requires url= () • (PDF)..

Retrieved August 23, 2016. American Film Institute. Retrieved August 23, 2016. American Film Institute.

Retrieved August 23, 2016. American Film Institute. Retrieved August 23, 2016. • Brown, Todd (October 12, 2013)...

Archived from on October 13, 2013. Retrieved October 13, 2013. Further reading [ ] • Dolan, Edward F. Hollywood Goes to War. London: Bison Books, 1985.. • Hardwick, Jack and Schnepf, Ed.

'A Viewer's Guide to Aviation Movies.' The Making of the Great Aviation Films, General Aviation Series, Volume 2, 1989.

• Henriksen, Margot A. University of California Press.. • Oriss, Bruce. When Hollywood Ruled the Skies: The Aviation Film Classics of World War II. Commandos 2 Serial Number more. Hawthorne, California: Aero Associates Inc., 1984.. • Rice, Julian (2008).

Kubrick's Hope: Discovering Optimism from 2001 to Eyes Wide Shut. Rowman & Littlefield.. External links [ ].