Zach Braff Reveals the Satirical Classic That Shaped His Craft
Zach Braff reflects on the enduring brilliance of Stanley Kubrick’s Dr. Strangelove, exploring how its sharp wit, performances, and visual style set a new standard for cinematic satire.
Though Zach Braff has carved out a reputation as an accomplished independent filmmaker, with works such as the much-praised early 2000s romantic comedy Garden State and the more recent A Good Person, he is still widely recognised as JD from Scrubs. The sitcom, set in the fictional Sacred Heart Hospital, became a staple of 2000s television, earning a devoted following. While it may not have reached the cultural saturation of Friends, its influence was unmistakable, with catchphrases echoing through school corridors and its soundtrack leaving a lasting impression. No matter how far Braff’s career progresses, the shadow of that series lingers.
Given this background, it’s hardly surprising that Braff’s top pick is a comedy. The fact that it was helmed by Stanley Kubrick, however, offers a glimpse into his ambitions as a director. While comedy is often associated with his public persona, Braff’s appreciation for film is anything but superficial. He singles out Dr. Strangelove: Or How I Learned to Stop Worrying and Love the Bomb as a benchmark for the genre.
“It set a very high bar for brilliant satire,”
he remarked to Criterion. For Braff, the film excels not only in its satirical edge but also in
“acting, cinematography, production design, everything.”
Satire at Its Finest
Some might assume that Dr. Strangelove is simply a staple on lists curated by filmmakers eager to appear well-versed, alongside the likes of Citizen Kane. Yet, its reputation is well deserved. Unlike some classics that can feel laborious to modern audiences, Kubrick’s black comedy remains sharp, relevant, and thoroughly entertaining. Even those who typically shy away from so-called ‘essential’ films find themselves drawn in by its wit and insight. While other Kubrick works, such as 2001: A Space Odyssey, are often lauded for their technical achievements, they can be a bit of a slog for some viewers. Dr. Strangelove, on the other hand, manages to balance its cleverness with genuine humour.
Braff himself admits,
“Well, I mean, come on. This is a masterpiece. I don’t know what to say that hasn’t already been said by many people way smarter than me.”
The film’s reputation precedes it, and for good reason. For those unfamiliar, it’s a biting political satire centred on a deranged American general who initiates a nuclear strike against the Soviet Union, and the frantic efforts of government officials to avert disaster. Released in 1964, at the height of Cold War tensions, it lampooned the pervasive anxiety of the era with remarkable precision.
From Serious Source to Comic Genius
Interestingly, the film was initially conceived as a straight-laced Cold War thriller, adapted from Peter George’s novel Red Alert. Kubrick, however, found the notion of humanity’s self-destructive tendencies so absurd that he transformed the project into a razor-sharp satire. The result is a film that stands as one of the finest examples of the genre, thanks in no small part to Kubrick’s direction and the writing partnership with Terry Southern.
The cast, led by Peter Sellers, is nothing short of exceptional. Sellers takes on three, nearly four, distinct roles, showcasing his remarkable range and comic timing. His performances, particularly his German accent, are a masterclass in character work. The film’s comedic brilliance is evident from start to finish, and as Braff notes, it sets a standard that few others can match. The only drawback, perhaps, is that it leaves most other comedies looking rather pale by comparison—but that’s hardly a reason to avoid it.