Movie of the Week #13


2001: A Space Odyssey
1968, Directed By Stanley Kubrick

2001: A Space Odyssey is a film that systematically proves exactly why Stanley Kubrick was the single greatest filmmaker to ever live. It is also a film that cannot be critiqued using conventional methods of film criticism. Sure, if one wants to break it down technically, one could say that the special effects are mind-bogglingly spectacular and leave one astonished at how Kubrick could have possibly created them, especially in 1968. One could say that the ape and old age make-up is amazing. One could say that the cinematography is gorgeous. These would all be valid points, but none of these statements would provide any insight into the sheer brilliance that drives this masterpiece. In order to accomplish that, one must delve much deeper into the meaning and profundity that is interweaved throughout every frame of this marvel of celluloid magic.

2001 is presented in four segments, each with its own individual message, commentary, and means of delivering pure cinematic brilliance.



The film opens with “The Dawn of Man”, a segment that details exactly what its title implies. A series of beautiful nature shots displays that the Earth bears a calm and peaceful landscape – something we soon learn is pretense. We are introduced to a clan of ape-like herbivores and their daily woes of finding food and fending off both predators and an aggressive rival clan that runs them out of their favorite watering hole. They soon find a strange black monolith (which becomes a central motif in the film) implanted in the ground near their shelter. Fed up with feeling unsafe and inferior, these simians discover a valuable new tool: the weapon. Armed with bones of long-dead creatures, the clan becomes carnivorous, and soon realizes they can have more than just juicier food. They set out to reclaim their source of hydration, and in the process, discover a powerful new concept: murder.

This segment arguably provides the most insight into the existentialist ideals that drive 2001. Instead of simply presenting the already widespread theory that man evolved from ape, Kubrick offers an idea for a much more precise pinpoint at which mankind came into existence: the birth of violence. Cynical? Maybe. Cold? Possibly. Fascinating? Absolutely.



After “The Dawn of Man”, we are immediately thrust into a desolate black space. This is where the scientific predictions begin. Synchronizing an epic classical symphony with equally epic science fiction visuals, Kubrick brings to life a high tech future that does not feel overly fantastic. Everything Kubrick depicts seems as though it could actually come to pass within the next few decades or so. We follow a man on a business trip of sorts as he travels to the moon, where the mysterious black monolith has been excavated from just underneath the lunar surface and is being subjected to a massive cover-up. It is subtly revealed that this monolith is far too much for man to comprehend, yet it is still not revealed just exactly what it is.



Thus begins the chapter of the film most full of commentary. “Jupiter Mission” centers on Dave Bowman, an astronaut sent with one other astronaut, a super-smart computer called HAL 9000, and a hibernating crew on the first mission to Jupiter. Over the course of this mission, we witness the interaction between Bowman and HAL, who is nothing more than a red camera eye and a monotonous, yet strangely emotional voice. However, therein lies one of the major questions this segment poses: can artificial intelligences feel emotion? After becoming unnerved with some of HAL’s “decisions”, Bowman decides it best to disconnect “him”. Bowman’s galactic journey then becomes a nightmare as HAL murders everyone else onboard and attempts to lock him out of the ship. During this sequence, HAL becomes one of the most truly frightening cinematic villains of all time, yet he is not even a physical being. Some of the commentary in this section becomes quite clear at this point: although artificial intelligences may one day be capable of, in a way, making decisions, they still lack the ability to think, feel emotion, or comprehend the value of human life. This is what makes giving them such a great amount of control over our lives such a dangerous thing.

Then, after Bowman manages to regain entry into the ship, he proceeds to enter HAL’s “brain”, so to speak, and shut him down. Yes, by this point, HAL appears to be a villain, yet as he pleads with Bowman not to disconnect him, one can’t help but feel a strange sympathy for him. He takes on an almost childlike earnestness, and by the time Bowman disconnects him, our hearts are nearly breaking. This is an impressive testament to Kubrick’s talent of eliciting a genuine response out of his audience.



Thus begins “Jupiter and Beyond The Infinite”, the most dazzling segment of the four both visually and thematically. It is incredible to look at, and it goes even a step further by unfolding entirely without dialogue. Kubrick was truly one of the few that understood that a picture, if used properly, really is worth a thousand words. After setting off toward Jupiter in a one-man pod, Bowman is soon catapulted into a psychedelic odyssey of perception-altering proportions, in which he watches the very cycle of life unfold right before his eyes. This cycle is what causes this segment to contend with “The Dawn of Man” as the most existentially insightful section of the four, as it seems to bear a firm belief in reincarnation. Bowman rapidly sees himself at varying degrees of old age, and eventually, as an unborn fetus. This is all overseen by the enigmatic black monolith, which could very well represent life itself.

To be perfectly frank, 2001: A Space Odyssey is flawless. It is an iconic motion picture experience like no other. In fact, it goes beyond the realm of film and becomes a fluid work of art. It truly is leaps and bounds above anything else ever made.

It just may be the greatest film of all time.



Previous Movies of the Week:

#1: Gladiator
#2: The Passion of the Christ
#3: Cool Hand Luke
#4: Fight Club
#5: American Beauty
#6: The Texas Chainsaw Massacre
#7: Goodfellas
#8: Boogie Nights
#9: American Psycho
#10: Dr. Strangelove
#11: Dog Day Afternoon
#12: Unforgiven

One of the 10 best films ever made.

I love this movie. My favorite part is the jump cut between the bone being thrown in the air by the ape that then cuts to the spaceship. Kubrick was a true innovater.

The only thing that ever bugged me about this movie was that on the cover of the VHS box, the guy pictured looks like Michael J. Fox.

I want to buy one of those big ass TVs, like a 65", with the super HD, and the Blu-Ray or HD-DVD player only to watch Jupiter and Beyond The Infinite on it.

There's nothing to say, it IS the greatest movie ever.

I'll be honest and admit that i've never fully understood this movie, nor have i ever been able to watch it in one sitting. That being said, i find it to be absolutely stunning on a scale that i've never experienced in any other piece of cinema.

Definitely my favorite movie ever. Brilliant on so many levels. I think what trips a lot of people up is the lack of dialogue and hand-holding in terms of plot, and the best thing to do for these is to read the book and then watch the movie. You won't really be spoiling anything since they're completely different, and you'll know the basic plot so you can sit back and experience the film from a visual and aural standpoint. I know you're thinking "that's lame, I shouldn't have to read the book," but it really does help.

The first time I watched this I was with my brother during the daytime, and while I liked it, it didn't blow me away. The second time I saw it was in the dead of night by myself, and it made all the difference. I've noticed that most things I end up loving take some time to grow on me, and this was the same way.

I could honestly go on and on about what makes it so good, but I'll just note a few things:

-The "clean" quality of the special effects. Most sci-fi movies try to make things seem hi-tech by by having lots of gadgets (I'm looking at you, Star Wars) while the settings in this one are very minimal. Everything is just beautiful and very cold feeling. It's great. The little touches really make it, like the lights bouncing off Dave's helmet (pretty obvious that I like this one) and those crazy color splashes in the wormhole sequence.
-The sound. Both the music and the ambient sounds make this movie. The piece from Gayane is just great, as is the use of the Blue Danube. The expiremental tracks from Ligeti work really well too.
-The theme. Finally a film that combines evolution with a benevolent higher power. Awesome.

Best movie ever, no question.

Wait, there's a book?

Only written by one of the greatest sci-fi authors of our time. That's all.

i believe, however, the book was written after the movie was filmed. i may be mistaken.


this is a fantastic movie that i don't particularly enjoy watching. my favorite aspect of the film is the implication that knowledge of something "more" coupled with a lack of understanding ultimately drives man to advance.

The film and book were written in conjunction, but there are quite a number of differences, the most striking of which is that the mission in the book is to Saturn and not Jupiter.

Oddly enough, the three sequels are based on the movie and not the book, which is quite confusing if you read them all the way through.

They were done at the same time. Kubrick and Clarke worked together on the projects.

something about watchn this movie baked out of my mind sounds extremely inviting/frightening.


this movie movie will be timeless until the day we actally travel to the moons of jupiter.

Fact: This movie was made before man had been in space. The appearance of the lunar surface was all guess work.

*on the moon

My bad.

Don't apologize to me. Apologize to Yuri Gagarin!

It's a very quick and easy read, and like I said, there's really no spoilers since plot isn't that important in the movie. I'd really reccomend reading it and giving the movie another try.

I never "got" the greatness of this movie. I don't really care for it.

It's an acquired taste, to be sure. The lack of dialogue is what throws a lot of people, I think. Give it another chance when you have nothing to do, it may change your mind.