Review and deconstruction of 2001.

Rating: 10/10 (3 August 2013)

2001: A Space Odyssey directed by Stanley Kubrick is a mind-bending sci- fi symphony, lifted with raw stimulation and heavy symbolism. It is potentially one of, if not the most influential and significant science fiction feature length film in cinema history. Its intention, (quoted by Kubrick himself) is to avoid the conscience rationalizations of its audience and to sink straight through to the unconscious, he demands us to interpret the film on more intelligent and complex levels. Kubrick's masterpiece is justly acknowledged as the inception of the futuristic revelation of space adventure films that entice, engage and at times intrigue viewers. It can perceived on many different levels, but we as the viewer can enter inside the central intention of Arthur C. Clarke from the literary piece, and watch the visually motivating interpretation fashioned by Stanley Kubrick whom in my eyes through his methodical directing provides unsurpassed brilliance and genuinely awe- inspiring depictions of stories which are second to none to any other director. His meticulousness behind the camera and precision to fully engage an audience is remarkable. On this particular example, Kubrick takes a well written novel to an extraordinary style over substance, art house psychological thriller standing the test of time, maintaining its relevance and significance in cinematic history.
Kubrick ambitiously predicts the future and explores the past by visiting pre-historic Africa showing apes learning of 'the tool' whilst they face the monolith unexplained by Kubrick, it is a major obstacle defining their existence. The film takes 25 minutes to introduce opening dialogue, yet the twenty five establishing minutes is thought-provoking and invigorating opening sequence. The monolith being a key figure to this opening, at every stage when we here the unsettling and somewhat disturbing tune that resides with the monolith. It crafts an overpowering ambiance, not only for the audience but it dominates over the characters it meets. There are many different meanings as to what the monolith represents; it is heavily indicated that extraterrestrial beings placed it there to see how humans have evolved through time, but I like to believe that it symbolizes us as the audience watching over the characters. We are the monolith watching the film and the characters unravel themselves in significant moments, similarly how Kubrick has given us a film to watch and we judge it accordingly.
From exploring the dawn of man, the film takes a staggering jump cut through time into colonised space delving into uncharted realms. We as the audience suddenly have to familiarize ourselves with new characters and thus acquainted with a new theme. Man vs. machine. This is where the core story line lays, and where at its heart we tend to feel every emotion making us feel indisputably uneasy. Despite this film not being overly sentimental, (which is seemingly the pattern through all Kubrick films) its ambiance and out of this world atmosphere is almost startling. Stanley subtly tells us that even man at its evolutionary peek on Earth is simply a little child in space having to learn to walk without gravity, be toilet trained and have to eat 'baby food'.
The theme man against machine is very cunning and intriguing. It shows us that through intelligence, the computer believes it can surpass humans. However with courage and ingenuity the man with spirit can overcome the machine. The HAL 9000, the main antagonist is possibly the most sinister and threatening villain to reach cinema screen. Its relatively disturbingly evil voice echoes through the minds of the viewer and his attitude that he is ever superior to man gives HAL a very distinguishable menacing presence. In many ways the audience acts the same as HAL. Once the memory and logic terminal is extracted from HAL, the viewer experiences a wealth of strange abstract events, we lose all clarity in what we see and from that point the audience is forced by Kubrick to choose their own idea of what is occurring on screen.
2001 is perhaps the most beautiful and evocative cinematography I have ever seen in film, it is a rare work of cinema that has stood the test of time, still maintaining it's realistic and authentic space look. This film proves that a sci-fi movie can be philosophical rather than pulpy, profound rather than pedantic. Stanley Kubrick's dazzling; Academy Award-winning achievement is a compelling drama of man vs. machine, a stunning meld of music and motion. "2001" is not concerned with thrilling us, but with inspiring our genuine awe. There are many divided opinions about the symbolic and philosophical meanings of this film, many people claim this film to be either a self indulgent art house film, or a work of pure art, in my opinion it is the latter and like the majority of the public I won't be diverted from that opinion. Whatever people may think of the film, it is a work of considerable originality and an unerringly satisfying, utterly unique cinematic experience. Even if you will hate or love this film, it is still recommended from me because it is valuable either way to get a grasp on how Stanley Kubrick artistically and poetically presents his films. This being a perfect example, a true cinematic genius provides us with a true cinematic masterpiece. "Let the Awe and Mystery of a Journey unlike Any Other Begin."