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,
"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 television interviewer explains that gaps of seven minutes each were edited out of the broadcast as signals raced between Earth and the hugely distant Discovery crew. Given that the resulting interview ran about four minutes and there were nineteen such gaps, the interview must have taken about 2 hours 17 minutes to tape, unless the questions and replies were all sent in single bursts and reedited later. See more »
When the lunar shuttle is landing on the moon, the Earth is seen in the background four times. The first time the Earth is lit from the right. The second time, when you see the men in suits on the lunar surface looking up as the shuttle comes in to land, the Earth is lit from the left. The next two times the Earth is seen, it is back to being lit from the right. Since the moon revolves around the Earth once every 28 days, the phase of the Earth should not change this quickly. 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 »
Some versions have title cards on-screen during the Overture and Entr'acte sections, while other versions omit these titles and simply play the music over a black screen. See more »
For all those bewildered by the length and pace of this film ("like, why does he show spaceships docking for, like, 15 minutes?"), here's a word you might want to think about:
Beauty is an under-rated concept. Sure, you'll often see nice photography and so on in films. But when did you last see a film that contains beauty purely for the sake of it? There is a weird belief among cinemagoers that anything which is not plot or character related must be removed. This is depressing hogwash. There is nothing wrong with creating a beautiful sequence that has nothing to do with the film's plot. A director can show 15 minutes of spaceships for no reason than that they are beautiful, and it is neither illegal nor evil to do so.
'2001' requires you to watch in a different way than you normally watch films. It requires you to relax. It requires you to experience strange and beautiful images without feeling guilty that there is no complex plot or detailed characterization. Don't get me wrong, plots and characters are good, but they're not the be-all and end-all of everything. There are different KINDS of film, and to enjoy '2001' you must tune your brain to a different wavelength and succumb to the pleasure of beauty, PURE beauty, unfettered by the banal conventions of everyday films.
"All art is quite useless" - Oscar Wilde.
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