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...province of European directors, Hollywood has turned out movies that at least in retrospect, have the qualities of classics. Hitchcock's Psycho inaugurated America's cinema of cruelty, with a demonic amalgam of bloodshed and violence that was not equaled until Bonnie and Clyde. Stanley Kubrick's Lolita treated the forbidden subject of nymphet-mania with cool humor; his Dr. Strangelove demonstrated that the biliousness of black comedy was as American as the H-bomb. John Frankenheimer's The Manchurian Candidate was a flawed murder drama that explored the mind of a brainwashed assassin with psychological...

Author: /time Magazine | Title: Hollywood: The Shock of Freedom in Films | 12/8/1967 | See Source »

Died. Peter George, 42, author of Two Hours to Doom, the 1958 book from which the movie Dr. Strangelove was taken, a onetime R.A.F. navigator who wrote the original as a deadly serious account of nuclear war by accident, then helped Producer Stanley Kubrick turn it into satire; by his own hand (shotgun); in Sussex, England...

Author: /time Magazine | Title: Milestones: Jun. 10, 1966 | 6/10/1966 | See Source »

...picture of the year, and its star, Rex Harrison, the best actor. Others in the field were spread. Kim Stanley easily won the best-actress award for her part as a medium in Director Bryan Forbes's Seance on a Wet Afternoon. The best director was Stanley Kubrick of Dr. Strangelove, and the best screenwriter was Harold Pinter, for The Servant. The best foreign-language picture of the year was Jean-Paul Belmondo's That Man from...

Author: /time Magazine | Title: Awards: Oscar Day East | 1/8/1965 | See Source »

...Strangelove, director Stanley Kubrick decided that the only sensible commentary on the absurdities of nuclear war was an absurd film. His light treatment of the possibility of accidental war produced a sharp political and social satire...

Author: By Peter Grantley, | Title: Fail Safe | 10/28/1964 | See Source »

Director Lumet, cursed with a terrible script, compounds his misfortune with unimaginative photography. With one shot of a B-52 flying low over its target, Stanley Kubrick represents the conflict of a desire for victory and a fear of destruction more effectively than does all of Fail Safe. But Lument's camera work, instead of adding to Fail Safe's statement, merely wears out the viewer with its monotonous tension. He uses all the standard melodramatic shots, close-ups of sweating brows and tight lips, prolonged views of radar screens and bug-eyed pilots in oxygen masks. This technique...

Author: By Peter Grantley, | Title: Fail Safe | 10/28/1964 | See Source »

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