Word: murder
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Dates: during 1960-1969
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...movie, but so they will understand and be able to properly evaluate the testimony of the doctor and the basis upon which he eventually came to a rather brief diagnosis: that at the time of the unfortunate incident, the defendant had a state of mind not com patible with murder...
...they had also to remember that hypnosis is not an infallible prod to the truth. Mulling all of this over, the jury deliberated for two days. "It's a rare case," said Judge Gardner.*Finally, late last week, the jury unanimously returned a verdict of guilty of murder in the first degree. Said Judge Gardner afterward: "My gamble paid off. The verdict has confirmed my faith in the jury system. They viewed that film, then took into account all the other evidence, and considered it only for its bearing on the psychiatrist's testimony...
...Zanuck, 33, executive vice president in charge of production. A tough, laconic demon for physical fitness (he does 50 push-ups a day before starting work), Darryl Zanuck's only son sometimes talks like one of the old-time tyrants. "I'll practically do anything short of murder to achieve what I want," he says. After graduating from Stanford and serving as an Army lieutenant, he got his first film job as production assistant on his father's 1957 version of The Sun Also Rises. In 1962, Darryl Zanuck, after taking charge...
...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 between man and his tools, a dimension which largely vanishes from this particular scene in cutting the first half and making the murder more abrupt dramatically...
...montage of the pre-ape destroying the skeleton with the bone, establishing Kubrick and Clarke's subjective anthropological notion that the discovery of the tool was identical to that of the weapon. The "dawn of man," then, is represented by a coupling of progress and destruction; a theme of murder runs through 2001 simultaneously with that of progress. Ultimately, Kubrick shows an ambiguous spiritual growth through physical death...