Restoration of Dr. Strangelove and the Triumph of the Free Market

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Growing up in America, I have been trained to believe that the “free market” solves all problems. That the invisible hand will inevitably lead to an equilibrium position that will be the optimal use of resources. Like any good cult, we are also taught to disregard any data or example that contradicts the central tenets. Any such example must be shown to be invalid because the free market is always right.

I have an excellent example here where the free market is one more time proven to not only find the optimal solution, it actually finds the only possible solution that could be acceptable to a right thinking American. No disgusting socialism or wooly thinking for us! The free market is always right.

Once upon a time, Stanley Kubrick attempted to put together a new print of his classic Dr. Strangelove: Or How I learned to Stop Worrying and Love the Bomb (1964). The film is a classic of black and white cinematography and Kubrick was tasked to put together the best possible set of prints for a rerelease sometime long after the original release.

But he discovered that what should have been a straightforward task was not because the original negative of the film no longer existed. To explain this, I have to explain something about how distribution prints for film used to be made.

The way this used to work was this: when you have finished editing a film, you cut the various elements of the film together into an original negative. From this original negative, which you hope to touch as little as possible, you then create an interpositive (IP) and from that an internegative (IN). From the IN you strike as many prints as you need for exhibition.

Eventually the IN wears out, and then you strike another IN from the IP. In this way, you never touch the original negative any more than you absolutely have to. But this costs money you see, not much money, but money. So when the IN would wear out, instead of striking another IN from the IP, the studio (?) would save a few bucks by just cutting out the relevant parts of the neg and adding it to the IN and strike more prints. Which means that the original negative no longer existed, and the best that Kubrick could do was to go back to the IP.

In order to save a few thousand dollars, the original and best version of one of the classics of Western cinema was destroyed. As well it should have been. Nothing is more sacred than the profits issued to the shareholders. To even consider otherwise is sacrilage.

The idea that there are still morons out there who actually think that the profit-motive should have anything to do with cultural legacy or any other value driven topic, such as health care, education and justice, is clearly a person who has been driven mad by ideology and has nothing to contribute to the political process.