In future Britain, Alex DeLarge, a charismatic and psycopath delinquent, who likes to practice crimes and ultra-violence with his gang, is jailed and volunteers for an experimental aversion therapy developed by the government in an effort to solve society's crime problem - but not all goes according to plan.
A family heads to an isolated hotel for the winter where an evil and spiritual presence influences the father into violence, while his psychic son sees horrific forebodings from the past and of the future.
After a space merchant vessel perceives an unknown transmission as distress call, their landing on the source moon finds one of the crew attacked by a mysterious lifeform. Continuing their journey back to Earth with the attacked crew having recovered and the critter deceased, they soon realize that its life cycle has merely begun.
A mentally unstable Vietnam War veteran works as a night-time taxi driver in New York City where the perceived decadence and sleaze feeds his urge for violent action, attempting to save a preadolescent prostitute in the process.
Robert De Niro,
"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
Stanley Kubrick initially approached Arthur C. Clarke by saying that he wanted to make "the proverbial good science-fiction movie". Clarke suggested that his story "The Sentinel" (1948) about finding an alien artifact on the moon, would provide a suitable premise. Clarke had written it for a BBC competition, but it didn't even make the shortlist. The movie's opening scene has elements in common with Clarke's story "Encounter at Dawn," and the ending is arguably related to his beloved novel "Childhood's End." The screenplay was written primarily by Kubrick and the novel primarily by 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. The official records say that the screenplay was written in 58 days (13 October 1965-9 December 1965). Shooting began with the "Monolith on the Moon" scene on 29 December 1965. It was undecided whether film or novel would be released first; in the end it was the film. 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. 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 »
Like a Circle around the human condition, 2001 starts at the beginning, skips the middle, and proceeds to the ending, right back where we started. Noting the weakness of words compared to image(s), Kubrick wisely dispenses with dialogue, preferring the power and essence of the scenery, and allowing the intelligence of the audience to do the deciphering. Or not, depending on the audience.
A monolith in cinematic history, 2001 is a high water mark of direction, execution, and achievement. If one considers the ambition of the film (a film about everything), and the measure of success the film achieved to that end, a very sound argument for this being the greatest of all films can be made.
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