Word: keir
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Dates: during 1960-1969
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BUTTERFLIES ARE FREE, by Leonard Gershe, is a love story of a blind boy and the girl next door. Keir Dullea, Blythe Danner and Maureen O'Sullivan star. Falmouth, Mass...
...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...
...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...
...with a scrambled face and a psyche to match. March (Anne Heywood) is cool, competent and controlled-the one who makes the decisions and mends the fences and blasts away with a shotgun at the red fox who regularly raids the chicken yard. Into this twitchy domesticity comes Paul (Keir Dullea), a merchant seaman on leave who has arrived to visit his grandfather, the deceased owner of the farm. A take-over type, he quickly gets himself invited to stay, while Jill giggles flirtatiously and March watches, wary and aloof. But it is March he wants-to her grateful astonishment...
...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...