- Why 2001: A Space Odyssey remains a mystery
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Intricate models of spacecraft were carefully photographed for a realistic depth of field, while interior shots of the ship were created by enormous sets, such as the rotating centrifuge. These majestic effects, many of which were influenced by silent-era practices, were employed to create a sense of realism that was otherwise absent from the sci-fi films of the era. Little did Kubrick and his team know that NASA would land a man on the Moon the very next year, providing a real-life referent for future films.
Faced with the prospect of disconnection after an internal malfunction, HAL eventually turns on the Discovery One astronaut crew, killing Dr. Frank Poole Gary Lockwood , before being manually shut down by Dr. David Bowman Keir Dullea. HAL represents a common fear of artificial intelligence, in that man-made technology will eventually turn on its creators after gaining enough knowledge and consciousness. Share on Facebook. Share on Twitter. Share on Reddit. Share on WhatsApp. Share by Email.
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Share on StumbleUpon. By Nicholas Barber 4 April The Soul Trembles. Op Art in Focus. Expressions of Pen and Palette. Filter events by:. Art Music Film. The 19 minutes of footage Kubrick removed following the world premiere included scenes revealing details about life on Discovery : additional space walks, Bowman retrieving a spare part from an octagonal corridor, elements from the Poole murder sequence including space-walk preparation and HAL turning off radio contact with Poole, and a close-up of Bowman picking up a slipper during his walk in the alien room.
Why 2001: A Space Odyssey remains a mystery
For the film's 50th anniversary, Warner Bros. Following a showing at the Cannes Film Festival introduced by Nolan, the film had a limited worldwide release at select 70mm-equipped theatres in the summer of ,   followed by a one-week run in North American IMAX theaters including five locations equipped with 70mm IMAX projectors. On December 3, , an 8K Ultra-high definition television version of the film was reported to have been broadcast in select theaters and shopping mall demonstration stations in Japan.
The website's critical consensus reads, "One of the most influential of all sci-fi films — and one of the most controversial — Stanley Kubrick's is a delicate, poetic meditation on the ingenuity — and folly — of mankind. Upon release, polarized critical opinion, receiving both ecstatic praise and vehement derision, with many New York-based critics especially harsh.
Kubrick called them "dogmatically atheistic and materialistic and earthbound. Someone in San Francisco even ran right through the screen screaming: 'It's God!
In The New Yorker , Penelope Gilliatt said it was "some kind of great film, and an unforgettable endeavor The film is hypnotically entertaining, and it is funny without once being gaggy, but it is also rather harrowing. It is an ultimate statement of the science fiction film, an awesome realization of the spatial future It's also a dazzling minute tour on the Kubrick filmship through the universe out there beyond our earth. Griffith 's Intolerance fifty years ago which can be regarded as the work of one man Space Odyssey is important as the high-water mark of science-fiction movie making, or at least of the genre's futuristic branch.
The Boston Globe 's review called it "the world's most extraordinary film. Nothing like it has ever been shown in Boston before or, for that matter, anywhere The film is as exciting as the discovery of a new dimension in life. The special effects are mindblowing. Pauline Kael called it "a monumentally unimaginative movie",  and Stanley Kauffmann of The New Republic called it "a film that is so dull, it even dulls our interest in the technical ingenuity for the sake of which Kubrick has allowed it to become dull. A major achievement in cinematography and special effects, lacks dramatic appeal to a large degree and only conveys suspense after the halfway mark.
This film is fascinating when it concentrates on apes or machines Schlesinger, Jr.
A Space Odyssey - Watch it April 5 with our Space on Screen series
Director Martin Scorsese has listed it as one of his favourite films of all time. I was not alone. Any film that can both enhance one's consciousness and touch one's emotions, simultaneously, evinces greatness. The film won the Hugo Award for best dramatic presentation, as voted by science fiction fans and published science-fiction writers. Reporting that "half the audience had left by intermission", Del Rey described the film "the first of the New Wave -Thing movies, with the usual empty symbols" as dull, confusing, and boring, predicting "[i]t will probably be a box-office disaster, too, and thus set major science-fiction movie making back another ten years".
Delany was impressed by how the film undercuts the audience's normal sense of space and orientation in several ways. Like Bradbury, Delany noticed the banality of the dialogue he stated that characters say nothing meaningful , but regarded this as a dramatic strength, a prelude to the rebirth at the conclusion of the film.
James P. Hogan liked the film but complained that the ending did not make any sense to him, leading to a bet about whether he could write something better: "I stole Arthur's plot idea shamelessly and produced Inherit the Stars.
Since its premiere, A Space Odyssey has been analyzed and interpreted by professional critics and theorists, amateur writers and science fiction fans. Peter Kramer in his monograph for BFI analyzing the film summarized the diverse interpretations as ranging from those who saw it as darkly apocalyptic in tone to those who saw it as an optimistic reappraisal of the hopes of mankind and humanity. There are also simpler and more mundane questions about the plot, in particular the causes of Hal's breakdown explained in earlier drafts but kept mysterious in the film.
Kramer writes: "Many people sent letters to Kubrick to tell him about their responses to , most of them regarding the film—in particular the ending—as an optimistic statement about humanity, which is seen to be born and reborn. The film's reviewers and academic critics, by contrast, have tended to understand the film as a pessimistic account of human nature and humanity's future. The most extreme of these interpretations state that the fetus floating above the Earth will destroy it.
Strangelove , immediately before , which resulted in dark speculation about the nuclear weapons orbiting the Earth in These interpretations were challenged by Clarke, who said: "Many readers have interpreted the last paragraph of the book to mean that he the fetus destroyed Earth, perhaps for the purpose of creating a new Heaven.
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This idea never occurred to me; it seems clear that he triggered the orbiting nuclear bombs harmlessly Regarding the film as a whole, Kubrick encouraged people to explore their own interpretations and refused to offer an explanation of "what really happened". In a interview with Playboy magazine , he said:. You're free to speculate as you wish about the philosophical and allegorical meaning of the film—and such speculation is one indication that it has succeeded in gripping the audience at a deep level—but I don't want to spell out a verbal road map for that every viewer will feel obligated to pursue or else fear he's missed the point.
In a subsequent discussion of the film with Joseph Gelmis, Kubrick said his main aim was to avoid "intellectual verbalization" and reach "the viewer's subconscious. Still, he acknowledged this ambiguity was an invaluable asset to the film. He was willing then to give a fairly straightforward explanation of the plot on what he called the "simplest level," but unwilling to discuss the film's metaphysical interpretation, which he felt should be left up to viewers.
For some readers, Clarke's more straightforward novel based on the script is key to interpreting the film. The novel explicitly identifies the monolith as a tool created by an alien race that has been through many stages of evolution, moving from organic form to biomechanical, and finally achieving a state of pure energy. These aliens travel the cosmos assisting lesser species to take evolutionary steps. Conversely, film critic Penelope Houston wrote in that because the novel differs in many key respects from the film, it perhaps should not be regarded as the skeleton key to unlock it.
Multiple allegorical interpretations of have been proposed, including seeing it as a commentary on Friedrich Nietzsche's philosophical tract Thus Spoke Zarathustra , or as an allegory of human conception, birth and death. Wheat sees as a multi-layered allegory, commenting simultaneously on Nietzsche, Homer, and the relationship of man to machine. Rolling Stone reviewer Bob McClay sees the film as like a four-movement symphony, its story told with "deliberate realism.
McClay's Rolling Stone review describes a parallelism between the monolith's first appearance in which tool usage is imparted to the apes thus 'beginning' mankind and the completion of "another evolution" in the fourth and final encounter  with the monolith. In a similar vein, Tim Dirks ends his synopsis saying "[t]he cyclical evolution from ape to man to spaceman to angel-starchild-superman is complete.
Humanity's first and second encounters with the monolith have visual elements in common; both apes, and later astronauts, touch it gingerly with their hands, and both sequences conclude with near-identical images of the Sun appearing directly over it the first with a crescent moon adjacent to it in the sky, the second with a near-identical crescent Earth in the same position , echoing the Sun—Earth—Moon alignment seen at the very beginning of the film.
The monolith is the subject of the film's final line of dialogue spoken at the end of the "Jupiter Mission" segment : "Its origin and purpose still a total mystery. Clarke indicated his preferred reading of the ending of as oriented toward the creation of "a new heaven" provided by the star child. The film also conveys what some viewers have described as a sense of the sublime and numinous.
To Jupiter and Beyond
Ebert writes in his essay on in The Great Movies :. North's [rejected] score, which is available on a recording, is a good job of film composition, but would have been wrong for because, like all scores, it attempts to underline the action—to give us emotional cues. The classical music chosen by Kubrick exists outside the action.
It uplifts. It wants to be sublime; it brings a seriousness and transcendence to the visuals.
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In a book on architecture, Gregory Caicco writes that Space Odyssey illustrates how our quest for space is motivated by two contradictory desires, a "desire for the sublime" characterized by a need to encounter something totally other than ourselves—"something numinous"—and the conflicting desire for a beauty that makes us feel no longer "lost in space," but at home.
The influence of on subsequent filmmakers is considerable. Steven Spielberg , George Lucas and others, including many special effects technicians, discuss the impact the film has had on them in a featurette titled Standing on the Shoulders of Kubrick: The Legacy of , included in the DVD release of the film. Spielberg calls it his film generation's "big bang", while Lucas says it was "hugely inspirational", calling Kubrick "the filmmaker's filmmaker". Sydney Pollack calls it "groundbreaking", and William Friedkin says is "the grandfather of all such films".
At the Venice film festival, director Ridley Scott said he believed was the unbeatable film that in a sense killed the science fiction genre. In , the Vatican named it one of the 45 best films ever made and included it in a sub-list of the "Top Ten Art Movies" of all time. Kubrick did not envision a sequel to Fearing the later exploitation and recycling of his material in other productions as was done with the props from MGM's Forbidden Planet , he ordered all sets, props, miniatures, production blueprints, and prints of unused scenes destroyed. Most of these materials were lost, with some exceptions: a spacesuit backpack appeared in the "Close Up" episode of the Gerry Anderson series UFO ,      and one of HAL's eyepieces is in the possession of the author of Hal's Legacy , David G.
Ordway III , science adviser to Kubrick, wrote the book The Lost Science , which for the first time featured many of the blueprints of the spacecraft and film sets that previously had been thought destroyed. Kubrick was not involved; it was directed by Peter Hyams in a more conventional style. The other two novels have not been adapted for the screen, although actor Tom Hanks in June expressed a passing interest in possible adaptations. To commemorate the 50th anniversary of the film's release, an exhibit called "The Barmecide Feast" opened on April 8, , in the Smithsonian Institution's National Air and Space Museum.
The exhibit features a fully realized, full-scale reflection of the neo-classical hotel room from the film's penultimate scene. From Wikipedia, the free encyclopedia. Theatrical release poster by Robert McCall. Stanley Kubrick Arthur C.