2001 : L'Odyssée de l'espace

A review I have put off for far too long....

Bluntly, 2001 is one of the best science-fiction films made to date, if not the very best. Stanley Kubrick was a genius of a film maker and this is one of his very best works. And although it is misunderstood by many, and respectively underrated, it is considered one of the best films of all time and I'll have to agree. Back in 1968, no one had done anything like this before, and no one has since. It was a marvel of a special effects breakthrough back then, and seeing how the effects hold up today, it is no wonder as to why. The film still looks marvelous after almost forty years! Take note CGI people. Through the use of large miniatures and realistic lighting, Kubrick created some of the best special effects ever put on celluloid. This aspect alone almost single-handedly created the chilling void of the space atmosphere which is also attributed to the music and realistic sound effects. I can't think of another film where you can't here anything in space, like it is in reality. Not only is the absence of sound effects in space realistic, it is used cleverly as a tool to establish mood, and it works flawlessly.

Aside from the magnificent display of ingenious special effects, there are other factors that play a part in establishing the feel of the film. The music played, all classical, compliment what the eyes are seeing and make you feel the significance of man's journey through his evolution from ape to space traveler.

The story, while seemingly simple, is profound. Sequentially, several mysterious black monoliths are discovered and basically trigger certain events integral to the film. What are they? Where did they come from? What do they do? These are all questions one asks oneself while watching the story develop and is asked to find his own way. While most come away with a general idea of what took place in the story, each individual will have to decide what it means to them. Any way one decides to answer these question results in profound solutions. It's not left entirely up to interpretation, but in some aspects it is. Experience it for more clarification. The end result is quite chilling, no matter your personal solution.

While it is a long film, and sometimes slows down, it has to be in order to accurately portray the journey of man. It's not a subject that would have faired well in a shorter film, faster paced feature. Those with short attention spans need not apply.

Last but not least, is the epitome of a remorseless antagonist, HAL 9000, the computer. Never has a machine held such a chilling screen presence. Which reminds me, for a film with such profound ambition and execution, there is surprisingly little dialogue. Another sign of Kubrick's genius.

All in all, one of the best films made to date and one of the very best science fiction films made. A personal favorite. Everyone must see this film at least once.

Very highly recommended.

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.

I'm EXTREMELY conflicted about this movie. I hate it, but it's amazing. I won't ever watch it again, but it's groundbreaking. I can't recommend it, but you have to see it.

Count me as one of the philistines who is too simple-minded to appreciate this so-called masterpiece. Actually, I have a degree in media studies and a great interest in science, science fiction and anything thought-provoking (the technical term is "need for cognition"). But I am just baffled by this film and why it is so esteemed. It is simply slow, empty and lifeless. When absolutely nothing is happening on screen, am I supposed to feel or think something profound? Even when my professor explicitly explained to me why this film is so great, I still cannot convince myself that it is so.

I'm always surprised, given that the famous title track of 2001 is called "Also sprach Zarathustra", that nobody (nobody I've read, anyway) has noted the parallels between the movie and Nietzsche's famous work, "Also sprach Zarathustra". The idea of man's rebirth into a star child; an infant form of an indescribably more advanced being, is an explicit part of N.'s "Zarathustra"; there is a prominent passage called "On how a camel becomes a lion, and a lion becomes a child", in which N. describes the first incarnation of the overman as a child, transcending both the ascetic, altruistic side of man (the camel; always asking to bear more weight) and the rapacious, brutish, will-to-power side of man (the lion). The fact that the song plays during the star child sequence can hardly be coincidence. And also, Zarathustra said that "man is a rope tied between beasts and the overman." The structure of the movie fits that description: a brief history of man as beast, until we become truly man by mastering weapons and acquiring reason, then a long sequence about man (the rope, as it were), and then a brief glimpse of the overman. The inscrutability of how these transformations occurred, and the suggestion that an external force caused them, is also Nietzschean; in "Zarathustra", he makes it pretty clear that he doesn't have a clue how people are going to be able to enact these changes themselves and suggests that we will have to depend on an outsider (Zarathustra) to show us how to "go under". Bowman's psychedelic sequence at the near-end could be seen as Kubrick's best 1960's-style attempt at depicting the mystical "going under".

I know these parallels are pretty broad, and almost certainly have been noted elsewhere despite the fact that I have not personally seen it. But I just wanted to mention them, if for no other reason than to try to dispel the myth that Nietzsche was ultimately a gloomy philosopher. Few people find the ending of 2001 to be gloomy, and it is in my opinion, explicitly and unmistakeably Nietzschean. The case could certainly be made that 2001 is above all a dramatization of "Zarathustra" updated for the modern age. Feel free to disregard the outright snobbishness of my tying everything to Nietzsche.