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.
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,
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.
"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 reason why the Discovery and the pods are powdery white, is from Kubrick's research of NASA's suggestions that spacecraft In the future would be manufactured from the non-ferrous properties of advanced ceramics. See more »
When the hatch is blown with the "explosive bolts", it appears to vanish when it should have been in between Dave and the Discovery, blocking his entrance, However, the door isn't actually detached in this sequence but is, rather, forcibly opened with the door sliding into the side of pod as it normally would, just much quicker due to the explosive bolts being fired. See more »
"Thus Spake Zarathustra" is the only musical piece in the film whose conductor and orchestra are not mentioned in the closing credits. For all other pieces, the orchestra which plays it, and the conductor who leads it, are given screen credit. See more »
Mankind's Self awakening is the theme of "2001: A Space Odyssey", a process that unfolds along a space-time continuum. We "see" our primordial past, and we "infer" a cosmic future. The powers of intuition thus become the doors of perception, in our ongoing collective journey.
From this transcendental perspective, a conventional, egocentric plot seems superfluous. Our frenzied conflicts and self-important dialogue are consumed in evolutionary change, and are irrelevant in a cosmos that is vast beyond comprehension. It's a tough lesson for a vain and aggressive species. Not surprising then that some of us huff and puff about the film's slowness and minimal story. For perceptive viewers, the remuneration is an inspirational sense of wonder and awe.
In this film, which is mostly visual, geometric symbols guide our intuition. Circles and arcs represent nature. Right angles represent conscious intelligence. Some people think the sleek, black monolith is a Von Neumann probe. Maybe. Without doubt, the monolith is a visual metaphor for an extraterrestrial intelligence whose physical form is never shown. Mystery is more profound than explanation.
"2001 ... " is unique among films in content and scope. The cinematography is out-of-this-world, the special and visual effects are breathtaking, and the classical music is sublime. I rarely use the word "masterpiece" to describe a movie. But Stanley Kubrick's "2001: A Space Odyssey" is art in the highest sense, like Leonardo da Vinci's "Mona Lisa", or Vincent Van Gogh's "The Starry Night".
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