Interpretations of A Space Odyssey - Wikipedia
As A Space Odyssey turns 50, we gathered fascinating facts our growing relationship with, and potentially dangerous reliance on .. CBC interview in , where he also predicted that humans would soon colonize other planets. In the end, it's estimated that 16, separate shots were taken to. A Space Odyssey is a epic science fiction film produced and . Kubrick told Clarke he wanted to make a film about "Man's relationship to the . Kubrick explains one of the film's closing scenes, where Bowman is depicted in old. WARNING: Contains spoilers for Interstellar and A Space Odyssey on whose mystery Stanley Kubrick mused in A Space Odyssey (). . is under threat by making a year-end gift to support The Guardian.
Wheat states that, "Most In 's case, the surface story actually does something unprecedented in film or literature: Friedrich Nietzsche 's philosophical tract, Thus Spoke Zarathustrawhich is signalled by the use of Richard Strauss 's music of the same name. Homer 's epic poem The Odysseywhich is signalled in the film's title. Wheat notes, for example, that the name "Bowman" may refer to Odysseuswhose story ends with a demonstration of his prowess as an archer.
He also follows earlier scholars in connecting the one-eyed HAL with the Cyclopsand notes that Bowman kills HAL by inserting a small key, just as Odysseus blinds the Cyclops with a stake.
Clarke 's theory of the future symbiosis of man and machine, expanded by Kubrick into what Wheat calls "a spoofy three-evolutionary leaps scenario": For example, of the name Heywood R. Floyd, he writes "He suggests Helen — Helen of Troy. Wood suggests wooden horse — the Trojan Horse.
And oy suggests Troy. To some extent, the very way in which it appears and is presented allows the viewer to project onto it all manner of ideas relating to the film.
The Monolith in the movie seems to represent and even trigger epic transitions in the history of human evolutionevolution of man from ape -like beings to civilised people, hence the odyssey of mankind. Rolling Stone reviewer Bob McClay sees the film as a four-movement symphony, its story told with "deliberate realism". After the first encounter with the monolith, we see the leader of the apes have a quick flashback to the monolith after which he picks up a bone and uses it to smash other bones.
Its usage as a weapon enables his tribe to defeat the other tribe of apes occupying the water hole who have not learned how to use bones as weapons.
After this victory, the ape-leader throws his bone into the air, after which the scene shifts to an orbiting weapon four million years later, implying that the discovery of the bone as a weapon inaugurated human evolution, hence the much more advanced orbiting weapon 4 million years later. In the most literal narrative sense, as found in the concurrently written novel, the Monolith is a tool, an artifact of an alien civilisation. It comes in many sizes and appears in many places, always in the purpose of advancing intelligent life.
Clarke has referred to it as "the alien Swiss Army Knife";  or as Heywood Floyd speculates in"an emissary for an intelligence beyond ours.
A shape of some kind for something that has no shape. At the time of the movie's making, the space race was in full swing, and the use of space and technology for war and destruction was seen as a great challenge of the future.
Upon excavation, after remaining buried beneath the lunar surface for 4 million years, the monolith is examined by humans for the first time, and it emits a powerful radio signal—the target of which becomes Discovery One's mission.
A Space Odyssey (film) - Wikipedia
In reading Clarke or Kubrick's comments, this is the most straightforward of the monolith's appearances. It is "calling home" to say, in effect, "they're here! Humanity has left its cradle, and is ready for the next step. This is the point of connection with Clarke's earlier short story, " The Sentinel ", originally cited as the basis for the entire film. The third time we see a monolith marks the beginning of the film's most cryptic and psychedelic sequence, interpretations of the last two monolith appearances are as varied as the film's viewers.
Is it a "star gate," some giant cosmic router or transporter?
Interstellar v A Space Odyssey: worlds apart or on the same planet? | Film | The Guardian
Are all of these visions happening inside Bowman's mind? And why does he wind up in some cosmic hotel suite at the end of it? Bowman lives out his years alone in a neoclassical room, brightly lit from underneath, that evokes the Age of Enlightenmentdecorated with classical art.
He raises a finger toward the monolith, a gesture that alludes to the Michelangelo painting of The Creation of Adamwith the monolith representing God.
Reviewers McClay and Roger Ebert have noted that the monolith is the main element of mystery in the film, Ebert writing of "The shock of the monolith's straight edges and square corners among the weathered rocks", and describing the apes warily circling it as prefiguring man reaching "for the stars". The academic Dan Leberg complained that Ager had not credited Loughlin. HAL is an artificial intelligence, a sentient, synthetic, life form. Like a Cyclops he relies upon a single eye, examples of which are installed throughout the ship.
The scene in which Frankenstein's monster is first shown on the loose is borrowed to depict the first murder by HAL of a member of Discovery One's crew—the empty pod, under HAL's control, extends its arms and "hands", and goes on a "rampage" directed towards astronaut Poole.
In each case, it is the first time the truly odious nature of the "monster" can be recognised as such, and only appears about halfway through the film. Clarke has suggested in interviews, his original novel, and in a rough draft of the shooting script that HAL's orders to lie to the astronauts more specifically, concealing the true nature of the mission drove him "insane".
During a game of chessalthough easily victorious over Frank Poole, HAL makes a subtle mistake in the use of descriptive notation to describe a move, and when describing a forced matefails to mention moves that Poole could make to delay defeat.
HAL's conversation with Dave Bowman just before the diagnostic error of the AE unit that communicates with Earth is an almost paranoid question and answer session "Surely one could not be unaware of the strange stories circulating When Dave states "You're working up your crew psychology report," HAL takes a few seconds to respond in the affirmative.
Immediately following this exchange, he errs in diagnosing the antenna unit. HAL has been introduced to the unique and alien concept of human dishonesty.
He does not have a sufficiently layered understanding of human motives to grasp the need for this and trudging through the tangled web of lying complications, he falls prey to human error.
As additional "bonus tracks" at the end, the CD includes the versions of "Zarathustra" and "Lux aeterna" on the old MGM soundtrack, an unaltered performance of "Aventures", and a nine-minute compilation of all of Hal's dialogue. North's unused music was first released in Telarc's issue of the main theme on Hollywood's Greatest Hits, Vol.
Eventually, a mono mix-down of North's original recordings, which had survived in the interim, was released as a limited-edition CD by Intrada Records.
A Space Odyssey Costumes and set design[ edit ] Kubrick involved himself in every aspect of production, even choosing the fabric for his actors' costumes,  and selecting notable pieces of contemporary furniture for use in the film. Olivier Mourguedesigner of the Djinn chair, has used the connection to in his advertising; a frame from the film's space station sequence and three production stills appear on the homepage of Mourgue's website.
Everyone recalls one early sequence in the film, the space hotel,  primarily because the custom-made Olivier Mourgue furnishings, those foam-filled sofas, undulant and serpentine, are covered in scarlet fabric and are the first stabs of color one sees. They resemble Rorschach "blots" against the pristine purity of the rest of the lobby. Similar detailed instructions for replacing the explosive bolts also appear on the hatches of the E.
Interstellar v 2001: A Space Odyssey: worlds apart or on the same planet?
Vehicles[ edit ] Modern replica of the Discovery One spaceship model To heighten the reality of the film very intricate models of the various spacecraft and locations were built. Their sizes ranged from about two-foot long models of satellites and the Aries translunar shuttle up to a foot long Discovery One spacecraft.
The image of the model was cut out of the photographic print and mounted on glass and filmed on an animation stand. The undeveloped film was re-wound to film the star background with the silhouette of the model photograph acting as a matte to block out where the spaceship image was. For most shots the model was stationary and camera was driven along a track on a special mount, the motor of which was mechanically linked to the camera motor—making it possible to repeat camera moves and match speeds exactly.
Elements of the scene were recorded on same piece of film in separate passes to combine the lit model, stars, planets, or other spacecraft in the same shot. In moving shots of the long Discovery One spacecraft, in order to keep the entire model in focus, multiple passes had to be made with the lighting on it blocked out section by section. In each pass the camera would be focused on the one lit section.
The camera could be fixed to the inside of the rotating wheel to show the actor walking completely "around" the set, or mounted in such a way that the wheel rotated independently of the stationary camera, as in the jogging scene where the camera appears to alternately precede and follow the running actor.
The shots where the actors appear on opposite sides of the wheel required one of the actors to be strapped securely into place at the "top" of the wheel as it moved to allow the other actor to walk to the "bottom" of the wheel to join him. The most notable case is when Bowman enters the centrifuge from the central hub on a ladder, and joins Poole, who is eating on the other side of the centrifuge. This required Gary Lockwood to be strapped into a seat while Keir Dullea walked toward him from the opposite side of the wheel as it turned with him.
A stewardess is shown preparing in-flight meals, then carrying them into a circular walkway. Attached to the set as it rotates degrees, the camera's point of view remains constant, and she appears to walk up the "side" of the circular walkway, and steps, now in an "upside-down" orientation, into a connecting hallway. Video of qtbOmpTnyOc 5. Film as a visual medium While science fiction in print and on film strove over the years to create striking, frightening or indelible images, Kubrick wanted to use the power of visuals to drive his story above all else.
What dialogue there is is largely banalities or some degree of exposition.
But that was the point: Kubrick deliberately cut out a lot of verbiage to let the visuals tell the story -- and they did, with results that are iconic and celebrated to this day. Video of ebmwYqoUp44 6. The pioneering visual effects To get the visuals he wanted, Kubrick led the effort to create or utilize ground-breaking new methods of doing special effects. Front projection, as opposed to the then standard rear projection, was used in the early Dawn of Man sequences and the walk on the Moon.
All kinds of methods, including slit-scan photography and the use of negative filters, were used to create the climactic Star Gate sequence, which still stands as one of the greatest single scenes in sci-fi history. The music Kubrick set aside the traditional method of using original music composed for the film although Alex North did compose a score that the director decided not to use in favor of existing classical works like Johann Strauss II's The Blue Danube for the space docking sequence and the "Sunrise" movement from Richard Strauss' Also sprach Zarathustra for the opening shots of the sun, moon and Earth.
The poetry of the former and the majesty of the latter perfectly captured the moods that the filmmaker wanted to evoke. The use of "Sunrise," it could be argued, paved the way for the many legendary classically-inspired scores that followed in sci-fi cinema, from John Williams' towering work in Star Wars and Close Encounters of the Third Kind both to Jerry Goldsmith and James Horner's thrilling scores for Star Trek: The Wrath of Khan respectively.