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Mankind finds a mysterious, obviously artificial, artefact buried on the moon and, with the intelligent computer HAL, sets off on a quest.
Keir Dullea: Dr. Dave Bowman
2001: A Space Odyssey(often referred to as simply 2001) is a 1968 epic science fiction film directed by Stanley Kubrick released by Metro-Goldwyn-Mayer and written by Kubrick and Arthur C. Clarke. The film deals with thematic elements of human evolution, technology, artificial intelligence, and extraterrestrial life, and is notable for its scientific realism, pioneering special effects, ambiguous imagery that is open-ended to a point approaching surrealism, sound in place of traditional narrative techniques, and minimal use of dialogue.
The film has a memorable soundtrack—the result of the association that Kubrick made between the spinning motion of the satellites and the dancers of waltzes, which led him to use the The Blue Danube waltz by Johann Strauss II, and the famous symphonic poem Also sprach Zarathustra by Richard Strauss, to portray the philosophical evolution of Man theorized in Nietzsche's homonymous work.
Upon seeing a few years ago I certainly had very high expectations for this film. Minimalist performances and a strong visual style makes this interesting if somewhat bizarre, I can assuredly say I've never seen anything quite like it.
What can I say? With 2001: A Space Odyssey it's best to start at the beginning, like the film begins with the surreal primitive origins of Man, with the first ape-like beings, especially focusing upon the one who figures out how to use handed tools/weapons represented by the bones.
The intelligent computer HAL, with a crazed nature to preserve itself was also clever and reflects every existing consciousnesses need for self preservation, anyone can sympathize or feel sorry for it when his memory banks are slowly erased.
The Monoliths/Domino-shaped monuments representation perhaps is the scariest aspect of 2001: A Space Odyssey because it is the perception of death or the void of nothingness. Is it an extraterrestrial relic or a starting point for life itself. Who knows? My interpretation would also be a constant, like space, which humanity or life itself can never escape. It is infinite, black and unexplainable, similar to the space and study upon which the film dwells.
While most audiences come away with a general idea of what took place in the story, each individual will have to decide what it means to them. Any way one decides to answer these questions results in profound solutions. It's not left entirely up to interpretation, but in some aspects it is. Experience it for more clarification. The end result is quite chilling, no matter your personal conclusion.
Simply put, 2001: A Space Odyssey is certainly among the best science-fiction films in history thanks to these elements. Stanley Kubrick was a genius, a devout film maker and this is one of his very best, very highest achievements.
Although it is misunderstood by many, and respectively underrated, it is now considered one of the best films of all time and I'll have to agree. Back in 1968, no one had done anything like this before, and no one has since. It was a marvel of special effects back then, and seeing how the effects hold up today, it is no wonder as to why. The film still looks marvellous after almost half a century!
Take note CGI people from today. Through the use of large miniatures and realistic lighting, Kubrick created some of the best special effects ever put upon celluloid. This aspect alone almost single-handedly created the chilling void of the space atmosphere which is also attributed to the music and realistic sound effects. I can't think of another film where you can't here anything in space, like it is in reality. Not only is the absence of sound effects in space realistic, it is used cleverly as a tool to establish mood, and it works flawlessly.
Aside from the magnificent display of special effects, there are other factors that play a part in establishing the feel of the film. The music played, harmonically classical and thriving, compliment what the eyes are perceiving, thus making you feel the significance of man's journey; His evolution from the Dawn of Man to a futuristic space traveller, to the Higher-Being Star Child guarding the Earth, creator and creation coming full circle.
Interestingly enough Stanley Kubrick initially approached Arthur C. Clarke by saying that he wanted to make "the proverbial good science-fiction movie". Clarke suggested that The Sentinel, a short story he wrote in 1948, story would provide a suitable premise. Clarke had written the story for a BBC competition, but sadly had evaded shortlist. The Sentinel corresponds only to the relatively short part of the movie that takes place on the moon.
The screenplay was written primarily by Stanley Kubrick and the novel primarily by Arthur C. Clarke, each working simultaneously and also providing feedback to the other. As the story went through many revisions, changes in the novel were taken over into the screenplay and vice versa. It was also unclear whether film or novel would be released first; So in the end it was the film which won the race. Kubrick was to have been credited as second author of the novel, but in the end was not. It is believed that Kubrick deliberately withheld his approval of the novel as to not hurt the release of the film.
Stanley Kubrick planned to have Alex North (who wrote the score for Kubrick's Spartacus(1960) write a musical score especially for the film. During filming, Kubrick played classical music on the set to create the right mood. Delighted with the effect, he decided to use classical music in the finished product. North's score has subsequently been released as "Alex North's 2001" (Varese/Sarabande 5400).
While it is indeed a long film, and sometimes grinds to a halt, it has to be done to accurately portray the journey of Man. It's not a subject that would have faired well in a shorter project, faster paced feature. Those with short attention spans need not apply here.
Importantly left for the conclusion, is the epitome of a remorseless antagonist, HAL 9000, the computer. Never has a machine or artificial being held such a chilling screen presence. HAL states at one point, ''It can only be attributable to human error.'' In HALs mind or consciousness, machines never make mistakes, only humans do. The truth remains that organic or artificial lifeforms can not always make perfect rational decisions. The matter of superiority and creation overcoming creator arises yet again. HAL is the representation of technology thinking for itself, and the dangers as well as implications of that realization coming true.
Which reminds me, for a film with such profound ambition and execution, there is surprisingly little dialogue, although it isn't needed or necessary. Indeed, another sign of Kubrick's minimalist genius and electrifying results in film.
Masterful Stanley Kubrick worked for several months with effects technicians to come up with a convincing effect for the floating pen in the shuttle sequence.
This level of dedication and devotion practically shows the level of love, sweat and tears the man has poured into the entire project and story.
Relentlessly, determined, Kubrick was trying many different techniques, without success, in the end Kubrick simply decided to use a pen that was taped to a sheet of glass and suspended in front of the camera. In fact, the shuttle attendant can be seen to pull the pen off the glass when she takes hold of it.
Simplicity through and through, yet achieving the pinnacle of advancement upon execution.
Stanley Kubrick was extremely well read and ahead of his time. It is rumoured that the image of the star-child came to him from the Spirit of the Earth in Percy Bysshe Shelley's Prometheus Unbound: "Within the orb itself, Pillowed upon its alabaster arms, Like to a child o'erwearied with sweet toil, On its own folded wings and wavy hair The Spirit of the Earth is laid asleep..."
An early draft of the script also had narration telling the story but in the end was not needed to tell the story. The visuals and imaginative happenings do that on there own effortlessly.
All in all, 2001: A Space Oddysee is one of the best Sci-Fi's out there and also one about the meaning of life and what happens afterwards. A personal Journey of Man, humanity and intelligence gracing transcendence. Everyone must see this film at least once.
''I'm afraid. I'm afraid, Dave. Dave, my mind is going. I can feel it. I can feel it. My mind is going. There is no question about it. I can feel it. I can feel it. I can feel it. I'm a... fraid. Good afternoon, gentlemen. I am a HAL 9000 computer. I became operational at the H.A.L. plant in Urbana, Illinois on the 12th of January 1992. My instructor was Mr. Langley, and he taught me to sing a song. If you'd like to hear it I can sing it for you.''
10/10
