Showing 111 - 120 of 154 annotations tagged with the keyword "Homicide"
Responding to the suppression of an historic event barely recalled today--5000 Madrid civilians executed for revolting against the invading Napoleonic French army--Goya painted a monumental canvas. The painter depicts fear and defiance in the enlarged white eyes of the patriots still alive, some shielding their eyes and faces with their hands. Profuse blood seeps from the dead lying in groups all over the ground as the firing squad of well-equipped professional soldiers massed together (only their backsvisible to the viewer), shoot at alarmingly close range unarmed, shabbily dressed peasants.
Strong light from a single lantern illuminates the face and body of one white shirted condemned man on his knees, eyes wide-open, leaning forward, arms outstretched, Christ-like, at the moment he is being shot. The powerless, innocent and grieving victims, next to be sacrificed, are hemmed in by a barren hill behind which looms the outline of barely visible city buildings, including a church.
Joe Rose, a popular science writer, and his partner Clarissa, a Keats scholar, are picnicking in the English countryside when an accident happens: a hot air balloon carrying a man and his grandson goes out of control. Five men, including Joe, run to help, holding onto the balloon's ropes; when a gust of wind lifts the balloon, four men, including Joe, let go but the fifth holds on, is lifted high in the air, and falls to his death.
One of the would-be rescuers, Jed Parry, becomes obsessed with Joe, and begins to stalk him, interpreting all rejections as veiled invitations. Jed wants both to convert Joe to charismatic Christianity and, it seems, to become his lover. Communication is impossible, the police are no help, and under the strain Clarissa and Joe's relationship comes apart. In a restaurant, someone at the next table is shot, making Joe realize that Jed is trying to kill him. After breaking into their apartment, threatening Clarissa at knifepoint, and then attempting suicide, Jed is arrested and committed to a psychiatric hospital.
In a subplot, the dead man's widow suffers a loss exacerbated by the belief that her husband had been having an affair. Joe learns the truth about the suspected affair and is able to reveal to the widow that her husband had been faithful after all.
The book ends with two appendices: an invented article from a British psychiatry journal presenting Jed's case, and a letter written to Joe by Jed three years later, still hospitalized, and still, deludedly, in love.
The family in this story seems perfect: well-to-do, situated in a lovely home at the edge of Lake Tahoe, three children in the home, a retired military grandfather, and a caring, competent mother (Tilda Swinton). The absentee father, a military officer, is at sea. All appears as calm and still as the deep lake in their physical midst and at the story's center.
The story primarily concerns the mother and Beau, the oldest son (Jonathan Tucker), an extremely sensitive and gifted musician currently being considered for a scholarship at a major university. What viewers come to know is that the young man is exploring his sexuality with an inappropriate male opportunist in the nearby city.
When the mother suspects that her son is meeting someone, she confronts the amused man, asks him to back off, and returns home. The man finds their home that same night, meets with the son, and demands money. When the spurned man leaves, he slips on the dock and hits his head on a rock. The son had already returned to the house.
The surface world of lunches, carpools, and school activities is shattered by the mother's discovery of the familiar body in the lake at the edge of the family dock. Unbeknownst to the mother, the death of the man/her son's initial partner, is accidental. She assumes the worst and automatically moves to protect her son. While managing the ordinary routine for her family, she struggles to get the body into a skiff and sink it with weights in a different location.
Of course the body is discovered within a short time and unfortunately for the mother, associates of the deceased are able to figure out the scenario, or at least the connections with the son. She is approached by blackmailers with impossible financial demands.
Molly Lane, restaurant critic and photographer, has died of a progressive neurological disease. She is survived by George, her husband, as well as by several past lovers, including Clive Linley, a famous composer, his old friend Vernon Halliday, editor of a London newspaper, and Julian Garmony, the British foreign secretary, rumored to be headed for Downing Street. After Molly's funeral, both Clive and Vernon experience odd neurological symptoms and make a mutual pact to help each other commit suicide in order to end suffering. The symptoms appear in both cases to have been psychosomatic, but the pact remains.
George has found career-destroying photographs of Julian Garmony (in drag) among Molly's things, and he gives them to Vernon for the newspaper. Vernon and Clive quarrel over the ethics of a decision each has made: Vernon's decision to publish the pictures, and over Clive's decision not to intervene when, while working on a crucial melody for his symphony during a walk in the country, he sees a woman being attacked by a man who turns out to be a serial rapist. When Vernon is fired and Clive's symphony is a failure, each blames the other and the suicide pact becomes a means of mutual revenge.
A subtext has been a running storyline in Vernon's paper about rumored abuse of the Netherlands's liberal euthanasia laws; the novel ends in Amsterdam, each man involuntarily euthanized by a physician paid by his friend. (Meantime, Garmony's career is in ruins. George has successfully destroyed all three of his wife's lovers.)
Dr. Constance Petersen (Ingrid Bergman) is a beautiful, unattached psychiatrist whose business-like facade fails to conceal a natural empathy that draws men. For her, however, love is a mere epi-phenomenon, easy to explain and resist, until she meets Dr. Edwardes (Gregory Peck). The famous expert on the guilt complex has arrived to replace the retiring chief (Leo Carroll). Constance is smitten, and so, it seems, is he.
But soon, she realizes that Edwardes is "not well," that he is terrified of dark lines on white: fork marks on a tablecloth; threads in her robe. Worse, she discovers that Edwardes is not, in fact, Edwardes, but an amnesic physician of initials "J. B." who is convinced that he has murdered his analyst. Constance does the right thing by having him removed from work, but she refuses to believe he is a murderer. Wanting to protect her, he leaves. But she, intent on curing her lover, follows him on a journey to retrace his last movements. The task is to recover both a memory and a missing person.
They go skiing (dark lines on white) at a resort where the real Dr. Edwardes had sojourned with his patient-colleague. On a dangerous slope, J. B. suddenly remembers that Edwardes went over the cliff. The body is found, but it has a bullet in the back.
Now hiding from the police, the couple pose as newlyweds and flee to her old mentor in Rochester. Complete with accent and beard, Dr. Brulov (Michael Chekhov) is a delightful double of the recently deceased Sigmund Freud (1858-1939). It emerges that John Ballantine (Peck) never lost his childhood feelings of guilt over the accidental death of his little brother.
In a gruesome ten-second flashback, the tyke is abruptly impaled on a iron-spike fence. This ancient guilt was reactivated by his doctor’s demise and it was sublimated by the defense mechanism of an assumed identity to keep the dead man alive. An idle slip of the tongue reveals the murderer to be the jealous retiree. The killer threatens Constance and then makes a quick end by dispatching himself instead.
The narrator, Latimer, begins the story with a vision of his death, which he attributes to a heart attack. He explains that, always sensitive after a childhood eye affliction and his mother's death, the further shock of a "severe illness" while at school in Geneva enabled him to see the future, and to hear others' thoughts--an experience which he describes as oppressive. He is fascinated by his brother's fiancée, Bertha, the only human whose thoughts are hidden from him, and whom he marries after his brother dies in a fall.
The marriage falters after Latimer eventually discerns Bertha's cold and manipulative nature through a temporary increase in his telepathy. When Latimer's childhood friend, the scientist Charles Meunier, performs an experimental transfusion between himself and Bertha's just-dead maid, the maid briefly revives and accuses Bertha of plotting to poison Latimer. Bertha moves out, and Latimer dies as foretold.
Summary:George tries to take care of his mentally retarded friend, Lennie, whose mental disability makes it impossible for him to judge his powerful strength. Lennie means well and tried hard; he likes soft, furry things, like a mouse and a puppy, both of which he squeezes to death accidentally. Though his great strength is useful on the ranch where he works, his inability to govern his behavior leads him into an accidental homicide. George, not wanting Lennie to live the rest of his life in prison, shoots him in the head as an act of mercy.
Marat, a leader of the French Revolution of 1789, is portrayed just after being stabbed to death in his bath by a fervent revolutionist, Charlotte Corday. The faked letter of introduction with which she fraudulently entered his home is still held in the dead man's hand. Three quarters of the gray-brown bathtub is covered by a wooden board. The background, shades of gray, is entirely bare.
Warm yellow light further softens the horror of the scene. Both dagger on the floor and wound in the breast are barely visible in the shadow. In fact, emerging from a gray-white turban, the dead man's face--eyes closed, mouth partly smiling--appears calm, as in a gentle sleep. The inscription on the side of a wooden block makeshift desk reads "À Marat/David."
In 1871 the Polaris, a rebuilt tugboat commissioned by the U.S. Navy, set sail with a dual mission: planting the stars and stripes on the North Pole and providing scientific data and specimens for the Smithsonian Institution. A number of poor decisions were made early on in the planning and initiation of the expedition, including an inadequately structured vessel, a vague power distribution lacking a clear absolute authority, and a sailing captain with a significant alcohol problem.
The power struggles begin early. By the third month of the voyage the ship is in physical trouble and the designated expedition head (Charles Francis Hall) has died suddenly of an unexplained illness. There is no leader and the struggle for control erupts between the German scientist/physician who is responsible for the scientific mission and the drunken whaleboat captain who is responsible for keeping his ship and crew safe.
Bad weather, terrible luck, and lack of discipline result in the loss of the Polaris, the splitting of the crew onto separate ice floes, and several months of harrowing experience trying to survive the Arctic winter and hope for rescue. The good news is that everyone except Mr. Hall miraculously survives the ordeal. The subsequent Naval inquiry into the failed endeavor ends without resolution as to the cause of Hall’s death despite hints from crew members that it was not natural. In 1968, long after all crew members had expired, Hall’s grave was located and forensic samples proved that he had died of arsenic poisoning.
Annie, about to finish high school, is still struggling with the long-term grief and confusion that has changed her family life since her sister, Mog, was killed by a car thief just before her own high school graduation two years ago. Annie wants to talk about Mog, but her mother remains in insistent denial and turns away from any mention of her; her father is protective of her mother and keeps his own long silences; and her brother, eager to get on with life, is willing, but unable to sustain much of the kind of conversation that might help.
Mog’s boyfriend, who was with Mog on the night of the shooting and sustained an injury but survived, offers one source of help in Annie’s process of emerging from grief, but the help becomes confused with romantic attentions that eventually, with the help of a therapist, Mog realizes she needs gently to renounce. Her belated decision to see a therapist comes at the suggestion of a friend’s mother who sees how stuck the family is in their evasions of the grief process. She initiates the visits on her own steam, with the approval of her rather passive but supportive father, and with a rather tense policy of noninterference from her mother.
Eventually, as Annie starts college, she finds herself able to move along toward remembering Mog and speaking about her freely while also reclaiming her own life and ambitions without guilt for leaving her sister "behind." Her father assures her that her mother will "be alright." In the meantime, Annie realizes not everyone has to heal the same way, and she has, with help, found a way that works for her.