2001: Odissea nello spazio abbraccia un arco di oltre un milione d’anni, dall’alba dell’uomo al primo volo verso Giove. Kubrick ha avuto al fianco Arthur C. Clarke, un autore di fantascienza che è anche scienziato, e gli ha chiesto di guidarlo attraverso quelle che una felice formula editoriale ha definito «le meraviglie del possibile».
2001: Odissea nello spazio non somiglia a nessun film di fantascienza o di fantapolitica finora realizzato. Perché non è un film di fantascienza in nessun senso del termine, ma semplicemente un discorso sull’uomo, l’uomo di sempre.
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 Mickey Mouse did for screen cartoons, it may seem a bit acrimonious for a veteran critic to persist in the belief that Stanley Kubrick’s earlier [...]
D’avance, nous savions que ce serait un événement. Parce que les dix millions de dollars dépensés garantissaient la qualité du spectacle et nous promettaient ce récital d’effets spéciaux, cette fête de l’imaginaire, ce plongeon dans l’inconnu dont le cinéma de SF nous frustre régulièrement.
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.