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
Film critic Andrew Sarris gave "2001" a negative review when it came out, and one of the things he didn't like about it was the clipped, almost militaristic way the astronauts spoke to each other. Later, after the Apollo 11 moon landing, he said he'd been wrong about that because the real astronauts who landed on the moon spoke in the same clipped, almost militaristic way as the fictional ones in "2001." See more »
While Frank is on the tanning bed listening to his parents' birthday greetings there is a cut showing Dave asleep in his 'sleeping pod' that shows the tanning bed at Dave's head, empty. Likewise, Dave is not shown inside the pod while Frank is shown on the tanning bed. The lighting in each cut also changes. See more »
The traditional "roaring lion" logo for MGM was not used in this film. Instead, the newly designed corporate logo for Metro-Goldwyn-Mayer was used, along with the letters "MGM", all in white against a blue background. 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 »
Tribute to one of the top 5 filmmakers of our time...
I write this review just after hearing of Stanley Kubrick's death. It's a great loss, and I write about 2001: A SPACE ODYSSEY, because I feel it is the consummate Kubrick film, the one he will be most remembered for. It is a picture like no other, not only revolutionizing science fiction, but changing the way films are conceptualized. It was probably America's first 'art' film and has inspired the likes of George Lucas and countless other writers and directors.
Aside from its visual greatness, the reason the film spawns so much discussion and analysis is because so many people have so many different interpretations of it. Kubrick and Arthur C. Clarke, his co-writer, had a vision, but we have never really found out what was going through their minds. Of course, the skinny on its 'message' is how technology of the future will take over humanity and decide the course of our lives unless we are careful. 2001's ending is one of hope, a version of our rebirth through the star-child's flight back to earth. It is meaningless to many, but discerning filmgoers will understand.
Although 2001 does not have the wicked, dark humor of DR. STRANGELOVE or CLOCKWORK ORANGE, or contain strong, eccentric characters that filled his earlier works like PATHS OF GLORY or SPARTACUS, I still feel he would've liked to be remembered most for this. If anything, HAL will be his most memorable character, dangerous, murderous, and artificial. It was a half-decade in the making at a time when Hollywood was still churning out dull musicals and just waking up to the New Wave of French and Italian cinema. Kubrick was a maverick director who made great films on his own terms, his own time, and for everyone else to marvel at. He will be missed.
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