In the wake of multimillion-dollar blockbuster films being released every month, the harsh reality must be faced that classic films have gone the way of the CD-player and MySpace: utter obsolescence. All hope has not been lost however. Classic cinema’s saving grace came in the form of Central Catholic alumnus and current teacher Mr. Campbell in his course The Literature of Film. The course is essentially a semester long case study on iconic movies released prior to the 21st century. Contrary to popular belief, this is not a class where you just sit and watch movies every- day. We engage in analytical discussions regarding our opinions on the films and on films re- leased recently, whether it be a debate on whether or not The Shape of Water deserved the Oscar or a discussion of the CGI effects in Black Panther. We are also tasked with writing a review of each of the films we watch, which are typically between 800-1000 words. Though the writing can be difficult at times, it is a very enjoyable class. It was in this class that I watched what has become my absolute favorite movie of all time, in fact, I enjoyed it so much that it compelled me to write this review and instilled within me a keen respect and appreciation for classic film.

I was introduced to the creative likes of Stanley Kubrick’s masterpiece, Dr. Strangelove or: How I came to stop worrying and love the bomb on March 7, 2018. Mr. Campbell spoke of the film as if it were an old friend of his, one that he liked very much, later saying that this is among his personal favorite movies. This acclaim alone was enough to build the expectations for the movie to nearly astronomical levels, and I kid not when saying that it delivered on every single level. I wish not to divulge anything regarding the plot, for I feel that a film is best experienced when going into a movie knowing very little about it, but the production was absolutely fantastic. The masterfully subtle satire is refreshing and genius, especially in the modern era of often unfunny situational-comedy films such as Adam Sandler’s…well… everything. Kubrick also flexes his cinematographic muscles by composing beautifully captivating scenes like no other director can. My viewing of this film acted as a sort of catalyst in the development of my keen adoration for classic films. They possess a certain intangible factor that is simply not present in movies of modern times, whether that be a more genuine and careful production or more clever writing and direction. Whatever it may be, there is a reason why there is an entire course devoted to the viewing of classic films. If you are interested in taking Mr. Campbell’s Literature of Film class, either meet with Mr. Campbell or refer to the course catalogue.