2001: A Space Odyssey
(Stanley Kubrick, 1968)
Throughout all of cinematic history, if there was ever a film to inspire a generation of film makers, take science fiction to a legendary and somewhat mythic place, as well as confuse millions of viewers all at the same time, 2001: A Space Odyssey would be the best candidate.
2001 is many things, but above all it’s about Kubrick’s ideology of mankind’s evolution. It’s about mankind as a whole, and about how far and how little we truly have come. If there is one film which can truly throw the serious viewers off their course for a moment with a strange progression, it is definitely this.
Although I will not rush and call this Kubrick’s magnum opus (for I believe that title lies firmly and forevermore with A Clockwork Orange), Kubrick’s grand maturity with becoming one of the most iconic filmmakers of all time may have started with Spartacus, Lolita, and Dr. Strangelove, 2001 is where he truly blooms in full in a way he would remain until his death. It’s a filmmaking maturity which incorporates every element of the film.
2001 is presented in three “act”-like segments, all inter-connected by the appearance of an enigmatic black monolith which in reality is the key for understanding the entire aspect of the story. The first involves two tribes of prehistoric apes fighting over a watering hole which ends when the monolith causes one tribe to stand upright, giving them the evolutionary advantage. The second involves a space journey by Dr. Heywood R. Floyd to an outpost base on the moon where the monolith hath been excavated in the moon’s surface a few miles away. And of course the most memorable act is the third which involves the Discovery One’s trip to Jupiter when a computer malfunction causes all hell to break loose with Dr. Dave Bowman ending up as the sole survivor after which he mysteriously disappears through the iconic Stargate sequence where he sees the rest of his life before the monolith again appears and transforms him into an embryonic fetus which begins to orbit the earth enclosed in a ball of light.
Along with such a complex and oddly structured story, 2001 is a groundbreaking motion picture in terms of pioneering advanced cinematography methods, practically writing the book on science fiction production design, and of course probably the most uses ever of the wide shot of which Kubrick was beyond keen on utilizing.
2001 is not just some iconic film of the 60s; it’s the foundation for every science fiction since; from Star Wars, to Close Encounters, to Terminator, to even Avatar, all of which owe a huge debt to Kubrick and his grand idea to make “the proverbial good science fiction movie.” The film is supplemented by Kubrick casting a collective of actors who would for the most part never appear in such a grand film again in their careers; their ability to give worthwhile acting performances hindered by the fact that Kubrick cut out so much dialogue from the original script. Keir Dullea is almost entirely known for his role as Bowman despite also appearing in dozens of other film roles throughout the years including Robert De Niro’s The Good Shepherd. Gary Lockwood and William Sylvester had already appeared in larger roles as Gary Mitchell in the Star Trek: Original Series pilot “Where No Man Has Gone Before” and the 1967 Bond film You Only Live Twice respectively, but would largely be remembered for 2001. Even Kubrick’s young daughter Vivian makes a cameo appearance during Floyd’s call back home while residing in the space hotel orbiting earth in the second act.
It’s hard to sum up 2001: A Space Odyssey in a few words. However if I had to try, i’d best describe it as one of the 20th century’s greatest cinematic enigmas.
