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,
"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 movie has many instances of brand placement for IBM. The most apparent are the computer panels in the space plane that docks with the space station, the forearm control panel on Dave's spacesuit, and the portable viewing screens on which Dave and Frank watch "The World Tonight." See more »
The bone Moon-Watcher uses to beat the enemy ape is a femur (upper leg bone), as indicated by the sideways projecting "arm" with a ball at the end. However, the bone shown rotating in the air is a tibia (main bone of the lower leg), as indicated by its blunt ends. See more »
[upon learning about the monolith while on the moonbus]
Deliberately buried. Huh!
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In the 2001 UK cinema re-release, the music carries on for 10-15 minutes after the end of the credits. See more »
The film originally premiered at 160 minutes. After the premiere, director Stanley Kubrick removed about 19 minutes' worth of scenes and made a few changes:
Some shots from the "Dawn of Man" sequence were removed and a new scene was inserted where an ape pauses with the bone it is about to use as a tool. The new scene was a low-angle shot of the monolith, done in order to portray and clarify the connection between the man-ape using the tool and the monolith.
Some shots of Frank Poole jogging in the centrifuge were removed.
An entire sequence of several shots in which Dave Bowman searches for the replacement antenna part in storage was removed.
A scene where HAL severs radio communication between the "Discovery" and Poole's pod before killing him was removed. This scene explains a line that stayed in the film in which Bowman addresses HAL on the subject.
Some shots of Poole's space walk before he is killed were removed.
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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