Transcendent Beauty

Rating: 10/10 (13 November 2014)

"2001: A Space Odyssey" emulates Stanley Kubrick's style in such a magnificent, yet tranquil fashion. The concept, blended with the artistry of Kubrick, had me breathlessly staring at my computer screen as the credits ran.
Kubrick's work seems to translate less as a film, but more as an artistic piece. The plot follows no specific points and the narration is minimal, yet the audience leaves with such a deep range of emotion and curiosity. The film revolves less around the evolution of its characters, but instead dwells on an overarching concept of the evolution of mankind in its entirety. Scenes like the apes learning how to use tools to kill the opposition, Bowman disabling the all powerful HAL-9000, and the final act where the star child looks over the earth all encompass Kubrick's intentions while utilizing his signature style.
The dialogue, or lack thereof, sets the tone for this film. In the first half hour, there are no words spoken. The same can be said for the last half hour. In fact, around 88 minutes are silent. That is more than half of the movie engulfed in the sound of silence. But the silence does not take away from the movie, as many superficial critics would argue, it enriches it in great dividends. Kubrick uses this incredibly eerie feeling to allow the film to progress with the absence of narration. We should not rely on the few words that we hear, but rather allow our own imagination and curiosity to emulate feelings that Kubrick fulfills with this style. Many viewers say that this creates a boring and slow-moving film, and I have to admit that some parts are a bit sluggish, but these empty sequences filled with classical music or heavy breathing adds an almost cryptic element to man's perception on the unknown universe. Everything appears so alien, so incredibly vast and remote. We are allowed to ponder Kubrick's profound intentions with such a minimalistic approach.
This cryptic element is also aided by the choice of music in the film. Kubrick infuses a remarkable soundtrack with beautiful shooting techniques to create a void that only our interpretation can fill. As we cycle through various ships in space to the tune of "The Blue Danube Waltz", we fall into a sort of trance, filled with fascination and awe over the complexity of space and what man has done to explore it. But when we first see the monolith on the moon, Kubrick viciously uses "Requiem for Soprano, Mezzo Soprano, Two Mixed Choirs & Orchestra" to create an almost disturbing feeling within us. The contrast of voices and tones combined with the unearthly presence of the monolith forces us into such an uncomfortable perception of the astronauts exploring the moons surface. Kubrick inflicts so much emotion with the use of classical scores such as these, having more meaning than the words of the characters themselves.
Everything that surrounds this film creates such an aura of beauty. Showing ships in space for fifteen minutes or playing music to a black screen has no effect on the outcome of the film, but it creates such an elegant atmosphere that Kubrick uses to enhance our outlook on 2001. That is what pushes this film past many others, the effect that even minor elements provide for its audience.
But what really sealed everything for me was the ending. Out of nowhere, Kubrick throws in scenes so profound and unexpected that it forces the audience to ask questions. It forces us to ponder what Kubrick truly wanted to portray. And ultimately, it forces us to examine human evolution and its place among the universe.
Kubrick did not create 2001 as a film to 'entertain'. The whole premise of the movie revolves around our conscious understanding rather than a superficial plot line that grants us immediate satisfaction. It is, no doubt, one of the most remarkably beautiful pieces of film ever created. Stanley Kubrick's unparalleled style allows "2001: A Space Odyssey" to transcend past any ordinary film.