[82], Kubrick was personally involved in the design of the monolith and its form for the film. Leave him up there! "[147] Roger Ebert gave the film four stars in his original review, saying the film "succeeds magnificently on a cosmic scale. Want to share IMDb's rating on your own site? The website's critical consensus reads, "One of the most influential of all sci-fi films – and one of the most controversial – Stanley Kubrick's 2001 is a delicate, poetic meditation on the ingenuity – and folly – of mankind. Both the novel and the film are partially based on Clarke's 1948 short story "The Sentinel", an entry in a BBC short story competition, and "Encounter in the Dawn", published in 1953 in the magazine Amazing Stories. [225] Other lists that include the film are 50 Films to See Before You Die (#6), The Village Voice 100 Best Films of the 20th century (#11), the Sight & Sound 2002[163] and 2012 Top Ten poll (#6), and Roger Ebert's Top Ten (1968) (#2). The helmet of the suit had been painted green at one stage, leading to a belief that it may have been worn during the scene where Dave Bowman disconnects HAL 9000.[239]. A monolith appears at the foot of the bed, and as Bowman reaches for it, he is transformed into a foetus enclosed in a transparent orb of light, which floats in space beside the Earth. [58][59] Colour processing and 35 mm release prints were done using Technicolor's dye transfer process. [101][102] After Moonwatcher uses a bone to kill another ape at the watering hole, he throws it triumphantly into the air; as the bone spins in the air, the film cuts to an orbiting satellite, marking the end of the prologue. Originally, Kubrick and Clarke had planned to develop a 2001 novel first, free of the constraints of film, and then write the screenplay. So it simply built up inside, incrementally causing a heightened heart rate, rapid breathing, fatigue, clumsiness, and eventually, unconsciousness. [112], The 19 minutes of footage Kubrick removed following the world premiere included scenes revealing details about life on Discovery: additional space walks, Bowman retrieving a spare part from an octagonal corridor, elements from the Poole murder sequence—including space-walk preparation and HAL turning off radio contact with Poole—and a close-up of Bowman picking up a slipper during his walk in the alien room. [16] The 29-minute film, which had also proved popular at NASA for its realistic portrayal of outer space, met "the standard of dynamic visionary realism that he was looking for." Clarke indicated his preferred reading of the ending of 2001 as oriented toward the creation of "a new heaven" provided by the Star Child. Year: 1968. [14][15] Two educational films, the National Film Board of Canada's 1960 animated short documentary Universe and the 1964 New York World's Fair movie To the Moon and Beyond, were major influences. It was developed concurrently with Stanley Kubrick's film version and published after the release of the film. [14] Trumbull became a special effects supervisor on 2001. It's a continuation, not a discontinuity in that jump. A few weeks before the film's release, the U.S. and Soviet governments had agreed not to put any nuclear weapons into outer space. "[212], Others credit 2001 with opening up a market for films such as Close Encounters of the Third Kind, Alien, Blade Runner, Contact, and Interstellar, proving that big-budget "serious" science-fiction films can be commercially successful, and establishing the "sci-fi blockbuster" as a Hollywood staple. ", 2001 contains a famous example of a match cut, a type of cut in which two shots are matched by action or subject matter. 2001: A Space Odyssey It is a part of Clarke's Space Odyssey series, the first of four novels and two films. In moving shots of the long Discovery One spacecraft, in order to keep the entire model in focus (and preserve its sense of scale), the camera's aperture was stopped down for maximum depth-of-field, and each frame was exposed for several seconds. [201] Rolling Stone reviewer Bob McClay sees the film as like a four-movement symphony, its story told with "deliberate realism". Much of the dialogue exists only to show people talking to one another, without much regard to content (this is true of the conference on the space station). [70], Kubrick involved himself in every aspect of production, even choosing the fabric for his actors' costumes,[72] and selecting notable pieces of contemporary furniture for use in the film. Although convinced that Clarke was "a recluse, a nut who lives in a tree", Kubrick allowed Caras to cable the film proposal to Clarke. Now, in the year 2001, the S.S. [36], Early drafts included a prologue containing interviews with scientists about extraterrestrial life,[41] voice-over narration (a feature in all of Kubrick's previous films),[a] a stronger emphasis on the prevailing Cold War balance of terror, and a different and more explicitly explained breakdown for HAL. A novel released after the film's premiere was in part written concurrently with the screenplay. [106], Front projection had been used in smaller settings before 2001, mostly for still photography or television production, using small still images and projectors. [148] Time provided at least seven different mini-reviews of the film in various issues in 1968, each one slightly more positive than the preceding one; in the final review dated 27 December 1968, the magazine called 2001 "an epic film about the history and future of mankind, brilliantly directed by Stanley Kubrick. hard science fiction writer James P. Hogan", Academy of Motion Picture Arts and Sciences, British Academy of Film and Television Arts, "Premios del CEC a la producción española de 1968", "Awards / History / 1968 – 21st Annual DGA Awards", National Board of Review of Motion Pictures, "In Lost Interview, Stanley Kubrick Explains The Ending of 2001: A Space odyssey", "Sometimes a Broken Glass Is Just a Broken Glass", "An Interview with Stanley Kubrick (1969)", "The Moving Arts Film Journal | TMA's 100 Greatest Films of All Time | web site", "Ridley Scott: 'After 2001 – A Space Odyssey, Science Fiction is Dead, "This Day in Science Fiction History — 2001: A Space Odyssey | Discover Magazine", "AFI's 100 Years ... 100 Heroes & Villains", "USCCB – (Film and Broadcasting) – Vatican Best Films List", "Starship Modeler: Modeling 2001 and 2010 Spacecraft", "2001: A Space Odyssey Immersive Art Exhibit", "Smithsonian celebrates 50th anniversary of '2001: A Space Odyssey, "Cannes Classics to celebrate the 50th anniversary of 2001: A Space Odyssey", "Cannes: Christopher Nolan To Present 70 mm Print Of Stanley Kubrick's '2001: A Space Odyssey, "The Making of '2001: A Space Odyssey' Was as Far Out as the Movie – A jumble of memorabilia, storyboards and props, an exhibit illustrates the whirl of influences behind Stanley Kubrick's groundbreaking 1968 film", "Hollywood: Legends and Explorers, Lot 897", America's Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry, Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, The Wonderful World of the Brothers Grimm, Intolerance: Love's Struggle Throughout the Ages, Hugo Award for Best Dramatic Presentation, The Lord of the Rings: The Fellowship of the Ring, Saturn Award for Best Classic Film DVD Release, https://en.wikipedia.org/w/index.php?title=2001:_A_Space_Odyssey_(film)&oldid=1018007359, Films based on science fiction short stories, Films with screenplays by Stanley Kubrick, Films that won the Best Visual Effects Academy Award, Hugo Award for Best Dramatic Presentation winning works, United States National Film Registry films, Films set in pre-colonial sub-Saharan Africa, Wikipedia articles needing page number citations from July 2020, Articles with unsourced statements from June 2020, Pages using Sister project links with wikidata mismatch, Pages using Sister project links with hidden wikidata, Wikipedia articles with BIBSYS identifiers, Wikipedia articles with CANTIC identifiers, Wikipedia articles with SUDOC identifiers, Wikipedia articles with WorldCat-VIAF identifiers, Creative Commons Attribution-ShareAlike License, Anthony Masters, Harry Lange and Ernest Archer, Edwina Carroll as lunar shuttle stewardess, Maggie d'Abo as stewardess (Space Station 5 elevator), Chela Matthison as Mrs. Turner, Space Station 5 reception, Judy Keirn as voiceprint identification woman (Space Station 5), 1980, MGM/CBS Home Video released the film on, This page was last edited on 15 April 2021, at 20:05. He was willing then to give a fairly straightforward explanation of the plot on what he called the "simplest level," but unwilling to discuss the film's metaphysical interpretation, which he felt should be left up to viewers. During a stopover at Space Station 5, he meets Russian scientists who are concerned that Clavius seems to be unresponsive. [56] In March 1968, Kubrick finished the "pre-premiere" editing of the film, making his final cuts just days before the film's general release in April 1968. [43][44] Other changes include a different monolith for the "Dawn of Man" sequence, discarded when early prototypes did not photograph well; the use of Saturn as the final destination of the Discovery mission rather than Jupiter, discarded when the special effects team could not develop a convincing rendition of Saturn's rings; and the finale of the Star Child exploding nuclear weapons carried by Earth-orbiting satellites,[44] which Kubrick discarded for its similarity to his previous film, Dr. [213] Science magazine Discover's blogger Stephen Cass, discussing the film's considerable impact on subsequent science fiction, writes that "the balletic spacecraft scenes set to sweeping classical music, the tarantula-soft tones of HAL 9000, and the ultimate alien artifact, the monolith, have all become enduring cultural icons in their own right". Influenced by the monolith, they discover how to use a bone as a weapon and, after their first hunt, return to drive their rivals away with the newly discovered tool. Kubrick and Arthur C. Clarke, his co-writer, had a vision, but we have never really found out what was going through their minds. "[46] Patrick Webster suggests the final line relates to how the film should be approached as a whole: "The line appends not merely to the discovery of the monolith on the Moon, but to our understanding of the film in the light of the ultimate questions it raises about the mystery of the universe."[194]. [109] The revised 142-minute version was ready for the expansion of the roadshow release to four other U.S. cities (Chicago, Denver, Detroit and Houston), on 10 April 1968, and internationally in five cities the following day,[67][110] where the shortened version was shown in 70mm format, used a six-track stereo magnetic soundtrack, and was projected in the 2.21:1 aspect ratio. 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