A Reel 50 - 2001: A SPACE ODYSSEY

“I am putting myself to the fullest possible use, which is all I think that any conscious entity can ever do.”

This month marks the 50^th anniversary of Stanley Kubrick’s 2001: A SPACE ODYSSEY.

Widely regarded as one of the greatest films of all time, 2001 follows a voyage to Jupiter after the discovery of a black monolith which mysteriously effects human evolution. It is a journey of discovery and a statement on what it is to be human…while exploring technology, artificial intelligence, and the possible existence of extraterrestrial life. The story is told with minimal dialogue, and uses startling visuals and ambiguous images to trigger thought and emotion, and raises questions that may never be answered.

After completing his comedy DR. STRANGELOVE in 1964, director Stanley Kubrick became fascinated with the possibility of extraterrestrial life, and set out to make “the proverbial good science fiction movie”. Kubrick met up with sci-fi author Arthur C. Clarke, and the two began a journey that would take up the next four years of their lives. Clarke offered two of his stories to Kubrick, with one evolving into the sentient computer HAL, and the other inspiring the Dawn of Man sequence, set in the stone ages, which opens the film. Kubrick and Clarke originally wanted to develop a novel for 2001 first, and then streamline it into the screenplay, but eventually wound up working on both simultaneously.

Realism was vital for Kubrick and his vision of a thinking-man’s space opera, and wanted to avoid the more sensational designs of spacecraft in popular science-fiction at the time. Kubrick sought out educational films for details and inspiration, and heavy research was done on the mechanics and physics of space. Filmed nearly two years before man walked on the moon, the film would be heralded for its accurate depiction of spaceflight.

The cast was rounded out with Keir Dullea, Gary Lockwood, William Sylvester, and Douglas Rain as the voice of HAL. Filming began in December of 1965, with live-action and the many special effects shots being overseen by Kubrick and visual effects artist Douglas Trumbull. Kubrick demanded that all effects shots to be done “in camera”, without the use of green-screen and matte techniques for sharper images. Professional mimes were used to play the apes in the Dawn of Man sequence, and a giant rotating set was constructed as an interior of the Discovery spacecraft to mimic zero gravity. Classical music was chosen as the score. Trumbull pioneered the technique of front projection and retroreflective matting…which was a huge step forward for sci-fi and filmmaking overall.

Upon release, it received polarized critical opinion, but has gained massive favor over the years. In that first year, it would win the Hugo Award for best dramatic presentation, as voted by sci-fi fans and published writers. It would earn Kubrick an Oscar for Best Visual Effects, as well as nominations for Best Director and Original Screenplay (shared with Clarke). Over time, it would be the ultimate source of inspiration for filmmakers such as Steven Spielberg, George Lucas, and many others…and would be ground zero for eventual space franchises such as STAR WARS and the STAR TREK films. The American Film Institute (AFI) ranks it 15^th on their Top 100 list, and in 1991 was preserved in the National Film Registry by the Library of Congress.

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Long-time readers of Reel Speak are well aware that this Blogger got his introduction to space adventure through STAR WARS in 1977. Although creator George Lucas took influence from Kubrick’s work on 2001, his romp through the galaxy bordered on fantasy; taking cues from mythology and infusing a great sense of fun. Over time I would be re-introduced to the galaxies beyond by watching STAR TREK on TV with dad and that was my first clue that space was not limited to just blasters and lightsabers. TREK took a lot from 2001, and over time the influences could be seen more and more. As a wee-lad, A SPACE ODYSSEY was too mysterious, too scary (actually, it still is), and for a kid…too slow. It took me years to fully appreciate the film, and as time goes on…its influence can be seen in the works of filmmakers such as Paul Thomas Anderson, Christopher Nolan, and Alfonso Cuaron. Before 1968, sci-films were low-budget affairs in the B-movie status, but 2001 made the genre legit cinema, and Kubrick's eye for detail eventually predicted future technology that we use today. Much of the film is undefined, but that works in its favor as it opens itself to interpretation by both believers and non-believers; almost a cinematic personality test. Film is certainly meant to educate, inspire, and provoke discussion…but a truly great film can and will enter our minds and stay there, because just like the universe it is fascinating and endless.

 “Its origin and purpose are still a total mystery.”