![]() ![]() This is what compelled Roger Ebert to conclude “what he (Kubrick) had actually done was make a philosophical statement about man’s place in the universe, using images as those before him had used words, music, or prayer.” And I agree with that assessment. And of course, the movie leaves A LOT up to interpretation, certainly posing more questions while giving almost no answers. Indeed, the characters of 2001 don’t have any real character by design. It’s not much concerned with individual people. It takes place across time and space, quartered into four chapters, it might as well be a silent movie for what little dialogue there is, and it really takes its time in establishing setting and environment. Spielberg called it the “Big Bang” of his filmmaking generation, Scorsese lists it among his favourite films, as did Federico Fellini and directors like Ridley Scott, Alfonso Cuarón, William Friedkin, Terry Gilliam, James Cameron, David Lynch, Christopher Nolan, George Lucas, Darren Aronofsky, and countless others have sung its praises and cited it as an inspiration.īut what is it about this movie in particular that continues to engross and inspire to this day? Even for its time, it was very experimental. If you look at any list or any book of the greatest movies, you’ll usually find 2001 at the top (alphabetically, but still). I’m far from the only movie enthusiast who considers Stanley Kubrick’s operatic masterpiece as the pinnacle of science-fiction film. ![]() Indeed, many have rightly defined the moon docking sequence set to Johann Strauss’ Blue Danube as an elegant ballet in the stars. ![]() Though intended as a joke, it's a quote that actually is relevant to the legacy and frequent re-evaluation of 2001: A Space Odyssey, fifty years after it’s original release in April of 1968. the Monorail”, a 1993 episode of The Simpsons. These words were uttered by Leonard Nimoy in “Marge vs. ![]()
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