Stanley Kubrick’s “2001: A Space Odyssey” Is Light-Years Away From Fiction
Film Review
By Madison Moore-Lynch with Black Olive Media
Stanley Kubrick’s “2001: A Space Odyssey”
Is Light-Years Away From Fiction
Unconventional narrative decisions and complex ideas molded together brilliantly, creating a work of science-fiction light-years away from being synonymous with the latter.
Stanley Kubrick’s acclaimed science-fiction genre picture “2001: A Space Odyssey,” originally released in the United States, held its Paris premiere at the Cinerama theater — a decision that ultimately shifted its initial uncertain reception and propelled the film into its now popular view as filmmaking perfection.
The film tackles big concepts: concepts such as the evolution of mankind, the discovery of the unknown, the evolution of technology, and the dangerous possibility of man-made technological advancements becoming more and more complex — with its complexity increasing faster than humans can adapt. But how does this melting pot of ideas stir into something worth watching even fifty-seven years after its release? The answer boils down to both the unique structure and careful crafting of the film itself as well as its unnerving relevance.
In an early letter to sci-fi writer Arthur C. Clarke, who became the co-author of the screenplay, Kubrick stated that he wanted to “explore the reasons for believing in the existence of intelligent extraterrestrial life” and consider how such an existence would change the course of life as we know it. Ultimately, however, other profound truths surrounding humanity, technology, and evolution bubbled to the surface as well. And these truths deserve to be explored.
The film is separated into four distinct parts — The Dawn of Man, TMA-1, The Jupiter Mission, and Jupiter and Beyond the Infinite.
The Dawn of Man — this opening sequence depicts prehistoric Africa, where early hominids discover a black monolith. Their interaction with this discovery leads to the first recorded use of a weapon. Part one is a representation of the beginning of human evolution and the transition from mere instinctual behavior to instinctual coupled with strategic.
TMA-1 — this second sequence transports viewers millions of years into the future aboard a spacecraft, as scientist Dr. Heywood R. Floyd travels to the moon to investigate a new discovery: the black monolith. This monolith, identical to the one shown to have existed millions of years ago, signals towards Jupiter, sparking further curiosity. Part two highlights the innate sense of wonder that lies within the human species — and all of the complexities and decisions that unfold as a result.
The Jupiter Mission — part three takes place eighteen months later. The spacecraft, operated by astronauts and scientists, begin this new trajectory accompanied by HAL 9000, the ship’s “perfect” computer that runs the majority of their discovery operations. What follows is immense chaos caused by HAL, the “perfect” computer. Eventually, a shift occurs in which HAL decides to stop following instructions given by his human counterparts — leading to unforeseen circumstances. Part three explores both the brilliance of artificial intelligence, and the extreme danger that lies in giving it too much power.
Beyond the Infinite — part four is highly abstract, depicting the arrival to Jupiter and the discovery of another monolith orbiting the planet. This moment is representative of the reality of discovering more of the unknown, something yet to be seen.
While these parts at times feel infinitely long, the film’s oddly entrancing nature effectively creates a visual experience rather than a traditional story. It’s arguably an illustration of time, how slow it moves yet how fast it feels. And the exact moment the mind teeters towards boredom, a new perspective and shift in tone emerges, hypnotizing the viewer back into the experience once more.
This is a testament to careful placement of various plot advancements, and Kubrick’s unique experimentation with form. Kubrick once reportedly told American director Steven Spielberg, “I want to change the form. I want to make a movie that changes the form.” And he did. With evident attention to detail, stark colors, stylish yet realistic costuming and production design, and this unique form, what’s depicted on screen truly feels like reality, even according to viewers during the time of its release over half a century ago.
As a writer, multimedia artist, self-proclaimed philosopher, and someone who has watched more movies than I can count in a ten hour sitting — it’s striking how my brain wanders back to this film and all of its complexities regularly. And it’s not solely because of the artistic choices, intricate nature, and bold form, but also because of our current societal landscape — a world where artificial intelligence is now a reality, one that many fear, yet others interact with regularly, one that holds the potential to replace many of the purposeful and impactful careers that are currently being occupied by humans, with a robot with no consciousness.
“2001: A Space Odyssey” is a meticulously crafted wonder in science-fiction filmmaking, illuminating the ever-changing cycle of life, the power of technology, the past, the present, and the future. It’s about the inevitability of encountering something new regardless of how far we may advance.
It begs the questions: what exactly are we searching for? How much further is there to go? Should we go further? How much more is there to discover? Should we discover more? How is it possible to find meaning in a life one cannot fully comprehend?
So many questions, yet they all serve as a testament to the continuing relevance of this 1968 classic, and the relevance it will hold decades after you read these words.
Kubrick’s chef-d'œuvre in science-fiction should not only continue being enjoyed by cinephiles like myself, critiqued in film schools, and watched with peers, family, and friends — it should be studied in all corners of society. There’s much more truth embedded within each frame than there is fiction.
