A space-opera spanning the dawn of man to humanity reaching the stars, 2001: A Space Odyssey tells the story of the Black Monolith, humanity's evolution and the rise of A.I.'s ultimate supercomputer HAL 9000.
A family heads to an isolated hotel for the winter where an evil 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 a distress call, its landing on the source moon finds one of the crew attacked by a mysterious lifeform, and they soon realize that its life cycle has merely begun.
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,
A New York City doctor, who is married to an art curator, pushes himself on a harrowing and dangerous night-long odyssey of sexual and moral discovery after his wife admits that she once almost cheated on him.
Ellen Ripley is rescued by a deep salvage team after being in hypersleep for 57 years. The moon that the Nostromo visited has been colonized, but contact is lost. This time, colonial marines have impressive firepower, but will that be enough?
"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 documentary film Doroga k zvezdam (1957) is believed to have significantly influenced Stanley Kubrick's technique, particularly in its accurate depiction of weightlessness and a rotating space station. Encyclopedia Astronautica describes some scenes from 2001 as a "shot-for-shot duplication of Road to the Stars". Specific comparisons of shots from the two films have been analyzed by the film-maker Alessandro Cima. A 1994 article in American Cinematographer says, "When Stanley Kubrick made 2001: a Space Odyssey in 1968, he claimed to have been first to fly actor/astronauts on wires with the camera on the ground, shooting vertically while the actor's body covered the wires" but observes that Klushantsev had preceded him in this. See more »
The people and props in the Clavius meeting hall, and the moon bus to TMA-1, move around and rest in gravity that shows they are on Earth. Moon gravity is 1/6 of Earth's gravity. See more »
The original theatrical release had Ligeti's Atmospheres to a black screen for roughly 8 to 10 minutes before the movie began, and Strauss' The Blue Danube well after the end credits to a black screen. See more »
The original theatrical release had 's "Atmospheres" set to a black screen for roughly 8 to 10 minutes before the movie began, and 's "The Blue Danube" long after the end credits set to a black screen. This overture and exit music survived the premiere edits mentioned above. For a long while, revivals and all television and cable broadcasts would cut both, starting directly at the beginning of the credits and ending immediately after the end credits, but current revivals in such places as the Film Forum in New York City and cable channels such as the Sundance Channel, Bravo, the Independent Channel, and PBS have been restoring the pre- and post-movie music. See more »
There are two schools of thought about 2001: A SPACE ODYSSEY. One, is that it is the greatest science-fiction epic ever made. This is supported by those who claim to understand the complexities involved and leading up the Star Child ending. The others, like myself, find it as absorbing as watching paint dry on woodwork.
The musical background is glorious, the colors are dazzling, and there's an interesting use of HAL as a villainous computer. Beyond that, there is nothing the least bit interesting about the human characters (trite dialogue and no personality or warmth to any of the individuals), the pace is unbelievably slow (so the intellectually gifted can philosophize on the mysteries of space), and the payoff at the end leaves you either breathless with enlightenment or convinced that you have watched three hours of nothingness.
I had the same letdown feeling when I watched THE CLOCKWORK ORANGE, so your like or dislike of this movie is purely dependent on personal taste. Intellectuals will take the position that you are a mentally challenged clod if you dare disagree with their elevated opinion of the movie--so be aware that this is not conventional story-telling in any sense whatsoever and only for those who admire Stanley Kubrick's way with unlikely cinematic material.
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