2001: A Space Odyssey – Fantastic Journey
Kubrick has, in one big jump, discovered new possibilities for the screen image. He took on a large challenge, and has met it commendably.
Kubrick has, in one big jump, discovered new possibilities for the screen image. He took on a large challenge, and has met it commendably.
2001: A Space Odyssey (1968) remains Kubrick’s crowning, confounding achievement. Homeric sci-fi film, conceptual artwork, and dopeheads’ intergalactic joyride, 2001 pushed the envelope of film at a time when Mary Poppins and The Sound of Music ruled the box office.
by Bosley Crowther In light of the phenomenal popularity of George Lukas’ 1977 Star Wars, which seems to have done for science fiction movies what
Stanley Kubrick was determined the design for his ‘definitive attempt’ at the science-fiction film should represent a decisive break with Hollywood norms — and who better to enlist to his cause than a pair of spacecraft consultants poached from the very heart of NASA itself?
These are four key scenes from the main sections of 2001: A Space Odyssey, a film that can be considered, with some reservations, a cinematic milestone in both the technical achievement and in its aesthetic exposition.
2001: A Space Odyssey is fascinating when it concentrates on apes or machines, and dreadful when it deals with the in-betweens: humans. For all its lively visual and mechanical spectacle, this is a kind of space-Spartacus and, more pretentious still, a shaggy God story.
Stanley Kubrick’s 2001: A Space Odyssey is remarkable on a number of counts. Firstly, it is perhaps the first multi-million-dollar supercolossal movie since D. W. Griffith’s Intolerance fifty years ago which can genuinely be regarded as the work of one man.
2001 no less than Dr. Strangelove is an apocalyptic vision: it i is an alternate future but no less pessimistic. Beneath its austerely beautiful surface an alarm is sounded for us to examine a problem of which Dr. Strangelove was a pronounced symptom: the possibility that man is as much at the mercy of his own artifacts as ever he was of the forces of nature.
Louise Sweeney, New York-based film critic for The Christian Science Monitor, wrote a generally favorable review following the New York premiere of 2001: A Space Odyssey. Boston staff critic John Allen’s full-page review appeared in the Monitor a month later and M-G-M reprinted it as an ad in a Sunday edition of The New York Times.
Any annoyance over the ending—if indeed it is widely felt—cannot really compromise Kubrick’s epic achievement, his mastery of the techniques of screen sight and screen sound to create impact and illusion.
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