Word: dullea
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Dover, taking a pass from Gustavson steamed in for what looked like a routine layup for the talented guard from New York. But, experiencing the same difficulty with the backboards which had cost him two layups earlier, Dover missed and collided with reserve Don guard Charlie Dullea under the basket...
...extraterrestrial intelligence that supposedly has been overseeing mankind since the Pliocene age. Now, in the 21st century, the mass has been identified by scientists, who have traced its radio signal back to Jupiter. A spaceship, Discovery I, is dispatched to that remote planet. Aboard are two conscious astronauts (Keir Dullea and Gary Lockwood) and three hibernating scientists sealed like mummies in sarcophagi. Also on board is Hal, a computer-pilot programmed to be proud of his job and possessed of a wistful, androgynous voice...
Mind Bender. After a wrenching struggle, Dullea manages to disarm the mutinous Hal just as Discovery I enters the orbit of Jupiter. There he sees the object of his trip-the omnipotent slab. He heads for it, and suddenly conventional dimensions vanish. An avalanche of eerie, kinetic effects attacks the eye and bends the mind. Kubrick turns the screen into a planetarium gone mad and provides the viewer with the closest equivalent to psychedelic experience this side of hallucinogens. At the end, beyond time and space, Dullea apparently learns the secret of the universe-only to find that, as Churchill...
...plotless slow-paced material, an always successful creation of often ritualistic behavior of apes, men, and machines with whom we are totally unfamiliar. In the longer version, the opening of Astronaut Poole's (Gary Lockwood) pod scene is shot identically to the preceding pod scene with Astronaut Bowman (Keir Dullea), stressing standardized operational method by duplicating camera setups. This laborious preparation may appear initially repetitive until Poole's computer-controlled pod turns on him and murders him in space, thus justifying the prior duplication by undercutting it with a terrifyingly different conclusion. Throughout 2001, Kubrick suggests a constantly shifting balance...
...girls, and for a while the triangle is a well-established and valid dramatic situation. But the creaky, mechanical ending (for which Lawrence deserves the blame) is a culpable copout. The actors deserve better. Anne Heywood, despite her non-derangeable makeup, is suitably tense and sensual, while Keir Dullea at least looks remarkably like a fox in a henhouse. And Sandy Dennis makes the neurotic Jill fully as enraging and pathetic as she should...