A mentally unstable veteran works as a nighttime taxi driver in New York City, where the perceived decadence and sleaze fuels his urge for violent action by attempting to liberate a presidential campaign worker and an underage prostitute.
Robert De Niro,
After a space merchant vessel perceives an unknown transmission as a distress call, its landing on the source moon finds one of the crew attacked by a mysterious lifeform, and they soon realize that its life cycle has merely begun.
"2001" is a story of evolution. Sometime in the distant past, someone or something nudged evolution by placing a monolith on Earth (presumably elsewhere throughout the universe as well). Evolution then enabled humankind to reach the moon's surface, where yet another monolith is found, one that signals the monolith placers that humankind has evolved that far. Now a race begins between computers (HAL) and human (Bowman) to reach the monolith placers. The winner will achieve the next step in evolution, whatever that may be.Written by
The documentary film Doroga k zvezdam (1957) is believed to have significantly influenced Stanley Kubrick's technique, particularly in its accurate depiction of weightlessness and a rotating space station. Encyclopedia Astronautica describes some scenes from 2001 as a "shot-for-shot duplication of Road to the Stars". Specific comparisons of shots from the two films have been analyzed by the film-maker Alessandro Cima. A 1994 article in American Cinematographer says, "When Stanley Kubrick made 2001: a Space Odyssey in 1968, he claimed to have been first to fly actor/astronauts on wires with the camera on the ground, shooting vertically while the actor's body covered the wires" but observes that Klushantsev had preceded him in this. See more »
During the BBC interview the interviewer notes that the delays due to the distance of the Discovery from the Earth have been edited out. However, during the interview the astronauts do not move much, something that would be unlikely if they had to wait seven minutes between each question and answer. See more »
"Thus Spake Zarathustra" is the only musical piece in the film whose conductor and orchestra are not mentioned in the closing credits. For all other pieces, the orchestra which plays it, and the conductor who leads it, are given screen credit. See more »
The original theatrical release had György Ligeti's "Atmospheres" set to a black screen for roughly 8 to 10 minutes before the movie began, and Johann Strauss's "The Blue Danube" long after the end credits set to a black screen. This overture and exit music survived the premiere edits mentioned above. For a long while, revivals and all television and cable broadcasts would cut both, starting directly at the beginning of the credits and ending immediately after the end credits, but current revivals in such places as the Film Forum in New York City and cable channels such as the Sundance Channel, Bravo, the Independent Channel, and PBS have been restoring the pre- and post-movie music. See more »
Mankind's Self awakening is the theme of "2001: A Space Odyssey", a process that unfolds along a space-time continuum. We "see" our primordial past, and we "infer" a cosmic future. The powers of intuition thus become the doors of perception, in our ongoing collective journey.
From this transcendental perspective, a conventional, egocentric plot seems superfluous. Our frenzied conflicts and self-important dialogue are consumed in evolutionary change, and are irrelevant in a cosmos that is vast beyond comprehension. It's a tough lesson for a vain and aggressive species. Not surprising then that some of us huff and puff about the film's slowness and minimal story. For perceptive viewers, the remuneration is an inspirational sense of wonder and awe.
In this film, which is mostly visual, geometric symbols guide our intuition. Circles and arcs represent nature. Right angles represent conscious intelligence. Some people think the sleek, black monolith is a Von Neumann probe. Maybe. Without doubt, the monolith is a visual metaphor for an extraterrestrial intelligence whose physical form is never shown. Mystery is more profound than explanation.
"2001 ... " is unique among films in content and scope. The cinematography is out-of-this-world, the special and visual effects are breathtaking, and the classical music is sublime. I rarely use the word "masterpiece" to describe a movie. But Stanley Kubrick's "2001: A Space Odyssey" is art in the highest sense, like Leonardo da Vinci's "Mona Lisa", or Vincent Van Gogh's "The Starry Night".
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