"If the film stirs the emotions and penetrates the subconscious of the viewer, if it stimulates, however inchoately, his mythological and religious yearnings and impulses, then it has succeeded."
Stanley Kubrick, Legendary Director of Dr Strangelove and 2001: A Space Odyssesy
In Arthur C. Clarke's forward to his novel 2001 A Space Odyssey, he wrote that "the barriers to distance are crumbling; one day we shall meet our equals among the stars."
More than anything, 2001 and its journey from the origins of life to Jupiter is Kubrick's philosophical statement about humanity's place in the universe, about where we as humans rate in the pecking order of life -- "feral, intelligent and hyper-intelligent." The famous Monoliths at the opening of the film and the Star Child at the end indicates that entities have reached a higher level of consciousness. Despite the fact that humanity remains more or less earthbound in the real world, Kubrick -- through his strange, serious, infuriating and by turns terrifying movie points towards our future: to our destiny beyond the Solar System.
The film's primary themes include the origins of evolution; sentient computers; extra-terrestrial beings; the search for one's place in the universe; and re-birth all seen within a cold, foreboding light. Viewers often read the monoliths as signposts of our discovery of intelligent life elsewhere in the universe. Shortly after the film's release, however, Kubrick told a New York Times reporter that it's more a matter of the other beings discovering us.
The film's striking cinematography was the work of legendary British director of photography Geoffrey Unsworth who would later photograph classic films such as Cabaret and Superman.
Steven Spielberg called 2001 A Space Odyssey (1968) his generation's big bang, focusing its attention upon the Russo-American space race -a prelude to orbiting and landing on the Moon with Apollo 11 on July 20, 1969. And it prophetically showed the enduring influence that computers would have in our daily lives.
The special effects techniques Kubrick pioneered were further developed by Ridley Scott and George Lucas for films such as Alien and Star Wars. 2001 is particularly notable as one of the few films realistically presenting travel in outer space, with scenes in outer space silent; weightlessness is constant, with characters are strapped in place; when characters wear pressure suits, only their breathing is audible.
Stanley Kubrick -director of Dr Strangelove, Lolita, and Clockwork Orange- spent five years developing 2001, collaborating with SF legend Arthur C. Clarke on the script, expanding on Clarke's short story "The Sentinel". The screenplay and the novel were written simultaneously. The novel and the film deviate substantially from each other, with the novel explaining a great deal of what the film leaves deliberately ambiguous.
The film is notable for its use of classical music, such as Richard Strauss's Also Sprach Zarathustra and Johann Strauss's The Blue Danube waltz, as well the music of contemporary, avant-garde Hungarian composer, György Ligeti (though this was done without Ligeti's consent). Atmospheres, Lux Aeterna, and Requiem on the 2001 soundtrack was the first wide commercial exposure of Ligeti's work.
moon docking sequence, which preceded the actual moon landing by a
year, looks remarkably accurate when compared with the footage of Neil
Armstrong cavorting. It's no wonder so many people believe the Apollo
11 landing was filmed on a Hollywood sound stage -- Kubrick had already
done it, and he made it look easy.
One of the more crucial elements of 2001 is the lack of sound that dominates the film, which is true to that there would be no sound in space (no atmosphere means no medium for sound transmission).
The real drama begins when HAL, one of cinema's all-time evil and terrifying characters, makes his appearance. The HAL 9000: a malevolent, homicidal, and sightly effete (he sings "Daisy")) intelligent computer that controls the operations of the spaceship Discovery, which is on its way to Jupiter with a team of astronauts to explore the monoliths' origins.
In the movie's tensest sequence, Discovery crewmen David Bowman and Frank Poole attempt to disable the computer after the stability of his programming becomes suspect. Omnipotent in their microcosmic on-board setting, HAL doesn't take kindly to this suggestion. Bowman and Poole hole themselves up in space pod to engage in what they think is a private conversation. HAL, however, watches, reading their lips.
Posted by Casey Kazan.
For the rest of the plot action, don't miss this video:
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