Film Analysis - Week 11
2001: A Space Odyssey (1968) - Directed by Stanley Kubrick
Starring: Keir Dullea, Gary Lockwood & William Sylvester
2001: A Space Odyssey (1968) - Directed by Stanley Kubrick
Starring: Keir Dullea, Gary Lockwood & William Sylvester
This Sci-fi/Thriller classic from 1968 is often quoted as one of the best films of its genre. It paved the way for such successful film franchises like Star Wars. The film is often critiqued for its abstract narrative and interesting interpretation. The film seems to lack a clear ending, it relies on the audience to take away their own interpretation of the film and the message that it has. The entire film was made using practical effects, considering the time that this was made, the visual outcome that was achieved is very impressive. Kubrick is considered an auteur, making such great abstract films such as 1980’s ‘The Shining’ and 1971’s ‘A Clockwork Orange’. These films among many others made people recognise Kubrick as being one of the greatest film directors of the 20th century. 2001 made his mark on the film community and the world, his incredible unique and abstract plot draws in many, but also leaves them confused as no formal explanation is ever given. The film has themes of mystery, progression, intelligence, discovery and achievement.
One of the films most critiqued features is it’s score. The film uses several tracks in order to reflect the mood, in fact more music is used than dialogue as the same tracks can be use over and over again to create the same affect. Often orchestral music is used in the film to create tension and suspense. The film centres itself around rectangular objects called ‘monoliths’ which remain a mystery to the audience and the characters. During their examination, the film uses these orchestral vocal tracks to build tension and anxiety within the audience, using it to hint as if something is going to happen. However the film is quite sparse of climactic moments, most of the film is quite slowly paced, often returning to mundane tasks between each plot device. The film is most famously known for its ‘main theme’, “Richard Strauss - Also Sprach Zarathustra”, that is repeated frequently throughout the film, most notably during the opening and closing credits. The film also frequently uses subtle ambient tracks to create a sense of scale, these tracks include bird chirps, wind blowing or even the complete silence of space. Since many scenes take place out in space, Kubrick, rather than having all of those scene be filled with complete silence, fills them with the deep breathing of the characters. The breathing signifies the reality of what he is doing, the stress and pressure that they feel. The breathing intensifies when performing more intense tasks showing that the track of the characters breathing is dynamic.
Since much of the film is centred around the monolith, the films cinematography takes after it. Many say that these specific camera angels only appear to some, however some believe that Kubrick intentionally shot the film in this way. The monolith is seen in an upright position for the majority of the film, only when it is out in space, floating around near Jupiter is it seen on its horizontal side. Many shots mirror the monolith, always being at 90 degree angles to it. Since the meaning of the monolith is never revealed, many speculate that Kubrick intended to ‘break the 4th wall’ or step outside the boundaries of the film and inform the audience of their own subconscious desires. The monolith was perhaps made to represent the film screen and film is seen through the monolith’s eye, the rectangle that is the screen. Of course, this theory, much like Kubrick’s film’s, is very abstract and steps out into the realm of speculation.
In conclusion, 2001 is a classic sci-fi film that may not have stood the test of time. Even though the practical skill that was used in order to make the film can still truly be admired, Kubrick’s dream or interpretation of what the 21st century may bring seems very unreal and abstract now for an audience viewing this film from the very time period he tried to mirror. His abstract ideas parallel well with his choice of score and it may be the part of the film most remembered.
One of the films most critiqued features is it’s score. The film uses several tracks in order to reflect the mood, in fact more music is used than dialogue as the same tracks can be use over and over again to create the same affect. Often orchestral music is used in the film to create tension and suspense. The film centres itself around rectangular objects called ‘monoliths’ which remain a mystery to the audience and the characters. During their examination, the film uses these orchestral vocal tracks to build tension and anxiety within the audience, using it to hint as if something is going to happen. However the film is quite sparse of climactic moments, most of the film is quite slowly paced, often returning to mundane tasks between each plot device. The film is most famously known for its ‘main theme’, “Richard Strauss - Also Sprach Zarathustra”, that is repeated frequently throughout the film, most notably during the opening and closing credits. The film also frequently uses subtle ambient tracks to create a sense of scale, these tracks include bird chirps, wind blowing or even the complete silence of space. Since many scenes take place out in space, Kubrick, rather than having all of those scene be filled with complete silence, fills them with the deep breathing of the characters. The breathing signifies the reality of what he is doing, the stress and pressure that they feel. The breathing intensifies when performing more intense tasks showing that the track of the characters breathing is dynamic.
Since much of the film is centred around the monolith, the films cinematography takes after it. Many say that these specific camera angels only appear to some, however some believe that Kubrick intentionally shot the film in this way. The monolith is seen in an upright position for the majority of the film, only when it is out in space, floating around near Jupiter is it seen on its horizontal side. Many shots mirror the monolith, always being at 90 degree angles to it. Since the meaning of the monolith is never revealed, many speculate that Kubrick intended to ‘break the 4th wall’ or step outside the boundaries of the film and inform the audience of their own subconscious desires. The monolith was perhaps made to represent the film screen and film is seen through the monolith’s eye, the rectangle that is the screen. Of course, this theory, much like Kubrick’s film’s, is very abstract and steps out into the realm of speculation.
In conclusion, 2001 is a classic sci-fi film that may not have stood the test of time. Even though the practical skill that was used in order to make the film can still truly be admired, Kubrick’s dream or interpretation of what the 21st century may bring seems very unreal and abstract now for an audience viewing this film from the very time period he tried to mirror. His abstract ideas parallel well with his choice of score and it may be the part of the film most remembered.
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