2001 is a synthesis of Kubrick and Clarke’s storytelling capabilities, and is an unattainable standard for space-bound pics, at-least the ones with clear hard science-fiction motives. Duncan Jones’ ‘Moon’ is under Odyssey’s wing, among others, including its admittedly sub-par sequel. Like most repeatedly say, the movie is a picture book of poster-ready images, never once escaping its own brilliance.
The beginning of 2001 is at a dry, desolate landscape, filled with wandering apes. The sun and moon rise to form eclipses, a gnostic metaphor for inspired evolution, which soon comes in the form of a dark, rectangular monolith, one of the greatest images in cinematic history. The apes cower and groan at its sight; but this jump-starts their evolution, and the next part in the story flips millions of years later, to a space-shuttle heading for the moon. Dr. Heywood Floyd is preparing to brief a group of supervisors about the cover-story for whats been found on the moon: No one presently knows exactly what it is. The monolith?
The third act is the day-to-day lives of the 2001 Astronauts, Dave Bowman and Frank Poole. The two converse casually, eat the normal vacuum-frozen meals, creating an eerie comfort to their surroundings. They sit at the same table, while looking at two different video-tablets on the same interview. One can see they do their own things, while also able to speak and be friends. The split between them is a robot, named HAL 3000. A rectangular output-device with a glowing red dot as a face, HAL turns the scheduled space-shuttle into horror and chaos; he alleges a part to need maitenance, as part of a scheme to take out the two astronauts and safely clear the way for the missions end-goal. Human-error is what HAL fears the most, but perhaps not as much as having his plug-ripped.
The phlegmatic manner in which the shots are placed, by Stanley Kubrick, is worth a generation of film-students study. Each scene has an importance, and they are all aesthetically innovating; the scene I found the most impacting, was the claustrophobic moment when Bowman and Poole are conniving on the strange actions of HAL, inside a sealed Pod. The camera turns into HAL’s POV, and we see him focusing on each of the astronauts lip-movement, through close-up panning; he’s studying their rebellion.
Anyone interested in this movie should read Arthur Clarke’s ‘The Lost Worlds of 2001’ with some real unique journal entries of him working diligently for months with Kubrick, who he regards very highly as a professional and a friend. The movie will never be forgotten: a dark, pessimistic view of artificial intelligence.