Same Year, Same Subject Matter: Cinematic Happenstances

Cinema, Performing arts, Popular Culture

With hundreds and hundreds of feature films being churned out of Hollywood every year, I suppose it shouldn’t surprise too much when two separate and unrelated production companies find themselves working on a version of the same thing. Nonetheless it does seem something of an oddity, or at least a novelty, when it does occur, which isn’t very often in cinema history.

Source: pastposters.com

At least three instances of identical subjects being simultaneously made into features spring to mind. Who doesn’t know that the mythical or semi-mythical (depending on your point of view) English hero of Medieval fable and legend, Robin Hood, has been the subject of American and British feature films almost too many times to count? Ever since the early days of silent movies the silver screen (and later the TV screen) has been awash with iterations of Robin and his Lincoln green-daubed coterie of “Merry Men” locking horns with the Sheriff of Nottingham, Sir Guy of Gisborne and other assorted knaves and villains. But in the year 1991 moviegoers got two Robin Hood sagas🄰 to choose from, a big budget Hollywood number, Robin Hood: Prince of Thieves with Kevin Costner in the eponymous role. In a film stolen by Alan Rickman’s outrageously over-the-top, campy Sheriff of Nottingham🄱, apple pie American Costner’s non-attempt as an appropriate English accent was a talking point of the film. The behind-the-scenes scuttlebutt was that his initial plan to try to pull off a passable English accent was vetoed by the director (‘Actors who gave up on accents halfway through a movie’, Ben Falk, Yahoo, 13-Nov-2020, www.uk.movies.yahoo.com).

𝕐𝕠𝕦𝕣 𝕔𝕙𝕠𝕚𝕔𝕖 𝕠𝕗 𝕒𝕔𝕖 𝕓𝕠𝕨𝕞𝕒𝕟: 𝔹𝕣𝕚𝕥𝕚𝕤𝕙 𝕠𝕣 ℂ𝕒𝕝𝕚𝕗𝕠𝕣𝕟𝕚𝕒𝕟 ℝ𝕠𝕓𝕚𝕟?

𓃰𓃰𓃰

Flashy ‘Prince of Thieves’ vs gritty, shadowy ‘Robin Hood’
The other 1991 RH vehicle, simply entitled Robin Hood, a UK production, was a smaller scale, more modest affair than ‘Prince of Thieves’. The two filmic versions—Hollywood vs Britain, Kevin Costner vs Patrick Bergin—were expected to go head-to-head in a battle at the box-office, but this was averted when the producers of the UK Robin Hood decided to send their version straight to cable (Fox) TV.

A surprising lack of rivalry existed between the two concurrently-working production teams. Because a number of the shoot locations were reasonably close to each other (Buckinghamshire, Cheshire, West Yorkshire, North Wales) there was a good bit of collaboration, eg, crew swaps between each movie’s SFX and stunt teams (‘The Surprise Cooperation between 1991’s two Robin Hood films’, Dan Cooper, Film Stories, 09-Apr-2021, www.filmstories.co.uk).

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𝔻𝕦𝕖𝕝𝕝𝕚𝕟𝕘 ℍ𝕒𝕣𝕝𝕠𝕨𝕤: ℂ𝕒𝕣𝕠𝕝 𝕧 ℂ𝕒𝕣𝕣𝕠𝕝𝕝

𓃯𓃯𓃯

Two films about Hollywood’s original “Platinum Blonde”
1965 saw the release of two biopics about Jean Harlow, star Hollywood actress and screen sex symbol of the 1930s, both were titled simply Harlow. The first, a Magna Distribution Corp TV biopic starred Carol Lynley in the titular role and the second, from Paramount released five weeks later with a budget more than double. Carroll Baker played the Thirties sex siren. Magna and Paramount subsequently countersued each other alleging unfair competition. Both movies were critical and box office failures with nary a good word to say by anyone about either of them…DVD Talk summed them up as “two smutty movies” with little resemblance to the real Jean Harlow (‘Harlow (1965) v Harlow (1965)’, www.realtoldmovies.blogspot.com).

𓃭𓃭𓃭

Dual Doomsday message
The third concurrent double act on the screen has the most interesting relationship. In 1964 Hollywood made two Cold War-inspired films with a storyline about the US military launching a Doomsday bomb aimed at the Soviet Union. The tones of the respective movies are diametrically opposite however, Dr Strangelove is a farce and satire, comically lampooning the absurdity of the global nuclear standoff, whereas Fail Safe is a grimly serious dramatic thriller which plays it very straight. Dr Strangelove director Stanley Kubrick was alarmed to discover that Sidney Lumet was making a near identical movie…so concerned was Kubrick that Fail Safe with its similar content might undermine his pet project he got the production company Columbia Pictures to buy the distribution rights to Lumet’s film in order to delay its release for nine months. The wash-up from this head-start was that Dr Strangelove did far better business at the box office than the similarly themed Fail Safe and is the much better-known of the two movies today.

Images: Columbia Pictures

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🄰 there were actually three Robin Hoods in the works simultaneously at that time. The third RH intended to have Liam Neeson in the role ended up being canned prior to production starting

🄱 as one critic summed it up, “While Costner had been robbing from the rich, Rickman had been stealing the movie“, ‘Behind-the-scenes trouble during ”Robin Hood”’, Garth Pearce, Entertainment Weekly, 21-Jun-1991, www.ew.com

Strangelove and his Cold Warrior Comrades, Art Imitating Life

Cinema, Comparative politics, Futurism, International Relations, New Technology,, Popular Culture, World history,

Stanley Kubrick’s 1964 dark satire Dr Strangelove is a classic of the genre which comically probes the collective anxieties triggered in the West by the Cold War at its height in the early 1960s. Kubrick hammers home the utter absurdity of the prevailing nuclear standoff between the US and the Soviet Union and the consequential existential threat to the planet from the doctrine of Mutually Assured Destruction (MAD) and “Doomsday bombs”. The movie’s plot involves the unilateral unleashing of a preemptive strike on Moscow by a deranged US Air Force general and the Pentagon’s shoddy attempts at “management” of the crisis.

Sellers as Dr Strangelove

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Kubrick and his film co-writers Terry Southern and Peter George give us three dangerously over-the-top, lunatic fringe characters – two gung-ho hawkish military types, generals Turgidson and Ripper, and the eponymous “Dr Strangelove”𝟙. The central figure in the nuclear nightmare scenario, Dr Strangelove (played by Peter Sellers), is a former German Nazi technocrat turned US strategic weapons expert and scientific advisor to the US president Merkin Muffley (also Sellers). Strangelove is creepily sanguine about the prospect for humanity post-nuclear Holocaust, expanding on his vision of a 100-year plan for survival (for some)…a male elite ensconced in an underground bunker where they can sire a selective breeding program with a plurality of desirable females [‘Dr Strangelove (character)’, Kubrick Wiki, www.kubrick.fandom.com].

Wernher Von Braun (Photo: Mondadori via Getty Images)

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Strangelove a composite of various personages

Though characterised by caricature and satire, the film’s three wildest characters are recognisable among the actual political, military and scientific figures of the day in America. The heavy Middle European accent of Dr Strangelove, his authoritarian-Nazi mannerisms and regular references to “Mein Führer”, has led some observers to conclude that the character was based on German aerospace engineer Wernher von Braun, instrumental in the Nazis’ V-2 rocket project and after 1945 in the US designing space rockets for NASA (a view given countenance by one of the screenwriters Terry Southern). Others have added émigré Hungarian scientists John von Neumann and Edward Teller as models for Strangelove. Both men worked on the Super-bomb projects (A-Bomb, H-Bomb, C-Bomb) for the US government in the 1940s and 50s, and both were rabidly anti-communist and anti-Russian [P.D. Smith, Doomsday Men (2007)]. Teller in particular shared a number of Strangelove’s traits, eg, volatile nature, Soviet-fixated and obsessed with bombs, possessed of a prosthetic limb. It’s probably a reasonable bet that the there was something of the personality of all three men in Dr Strangelove, but other individuals were also sources of inspiration for the character.

Herman Kahn (Source: Alchetron)

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A Megadeath influencer from RAND
Another real-life figure widely associated with the Strangelove character is Herman Kahn, who was a physicist and military strategist with the RAND Corporation𝟚. Kubrick got the idea of a “Doomsday Machine” from Kahn whose 1960 book On Thermonuclear War posited the possibility of a winnable (sic) nuclear war. Kahn has been described as a “Megadeath Intellectual” with his robust insistence that the dangers of nuclear war were exaggerated (this also accords with the outlier position of General Buck Turgidson – see below)𝟛.

Gen. Jack Ripper (Photo: Columbia Pictures)

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Military madness
Maverick general in the Strategic Air Command Jack D Ripper (played by Sterling Hayden) is gripped by the all-consuming communist conspiracy hysteria. His belief in the loony notion that the Soviets have been fluoridating American water supplies to pollute the “precious bodily fluids” of Americans leads him to initiate a H-Bomb onslaught on the USSR without consulting the Pentagon. Ripper’s wild rhetoric and blustery style has been compared to Robert Welch, the rabid anti-communist founder of the ultra-conservative and reactionary John Birch Society. Ripper’s loopy claim about Soviet water contamination echoes Welch’s baseless anti-fluoridation allegations (‘How I Learned to Stop Worrying’).

Gen. LeMay (Image: Mort Kunstler / Stag)
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Expendable dead
Gen. Buck Turgidson (played by George C Scott) was largely modelled on four-star air force general Curtis LeMay𝟜. Turgidson is an unrepentant war hawk who wants to escalate Ripper’s nuclear attack on the Soviets, justifying it with the outrageous claim that it will result in only “limited” casualties from the ensuing superpower war, which in his estimate equates to 10 to 20 million dead! Like Turgidson LeMay danced to the beat of his own drum, he was well disposed towards a preemptive strike on the Russians and vociferously advocated nuclear strikes on Cuba during the Cuban Missile Crisis and on North Vietnam during the Indo-China War.

Gen. Turgidson (Scott) in the War Room (Columbia Pictures)

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The actions and statements of the clearly psychotic Ripper and morally reprehensible Turgidson convey insights into the level of paranoia gripping the real-life military commanders in the climate of the nuclear arms buildup in the Sixties. [Fred Kaplin, “Truth Stranger than ‘Strangelove‘“, New York Times, 10-Oct-2004, nytimes.com].

Fail Safe (1964)

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Footnote: Satirical Dr Strangelove v Serious Fail Safe
Intriguingly, at the same time Kubrick was making Dr Strangelove there was a separate film in the works also about an American nuclear attack on the USSR. Fail Safe dealt with the same subject but as a straight-up drama. In this second film about nuclear Armageddon the trigger to the catastrophic event however is not rogue generals but a technical glitch. Strangelove’s equivalent morality-free scientist character in Fail Safe is Professor Groeteschele (played by Walter Matthau) who draws similar comparisons with Herman Kahn.


𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝄪𝟙
Dr Strangelove is broadly based on George’s novel Red Alert (1958), although the character of Dr Strangelove doesn’t appear in the novel
𝟚 mimicked in Dr Strangelove as the BLAND Corporation
𝟛 another Strangelove comparison is Henry Kissinger…suggested by a shared “eerie poise, lugubrious German accent and brutally pragmatic realpolitik” [Gary Susman, ‘Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb’, Time, 11-Feb-2013, www.entertainment.time.com]
𝟜 although behaviourally the Ripper character (“cigar-chomping, gruff-talking”) also resembles LeMay’s style