2001 movie

2001 Movie weitere rezensionen

Auf dem Mond wird ein Monolith ausgegraben, dessen Herkunft und Material unbekannt sind und der ein Signal in Richtung Jupiter sendet. Das Raumschiff Discovery wird mit der Absicht ins All gesendet, bis zum Ziel der Signale vorzustoßen. An Bord. Der Film beschreibt die Forschungsreise von fünf Wissenschaftlern zum Planeten Jupiter, nachdem ein mysteriöser. 1 Ursprung der Benennung; 2 HALs Rolle in Odyssee im Weltraum; 3 Geburtstagsfeiern und Ehrungen; 4 Anspielungen auf HAL. Film und Fernsehen. Heute ist "" Kult - doch die Premiere war kein großer Erfolg. Film Kubrick - Odyssee im Weltraum - Szene mit Astronaut im. A Space Odyssey is perhaps Stanley Kubrick's signature movie, and Arthur C. Clarke's definitive novel. Conceived as a book and a film simultaneously, it.

2001 movie

Der Film beschreibt die Forschungsreise von fünf Wissenschaftlern zum Planeten Jupiter, nachdem ein mysteriöser. A Space Odyssey is perhaps Stanley Kubrick's signature movie, and Arthur C. Clarke's definitive novel. Conceived as a book and a film simultaneously, it. Directed by Holger Gotha, Peter Zeitlinger. With Eva Herzig, Julia Bremermann, Ottokar Lehrner, Simon Licht.

In a interview, Kubrick said:. There are a number of differences between the book and the movie. The novel, for example, attempts to explain things much more explicitly than the film does, which is inevitable in a verbal medium.

The novel came about after we did a page prose treatment of the film at the very outset. Arthur took all the existing material, plus an impression of some of the rushes, and wrote the novel.

As a result, there's a difference between the novel and the film I think that the divergences between the two works are interesting.

In the end, Clarke and Kubrick wrote parts of the novel and screenplay simultaneously, with the film version being released before the book version was published.

Clarke opted for clearer explanations of the mysterious monolith and Star Gate in the novel; Kubrick made the film more cryptic by minimising dialogue and explanation.

The screenplay credits were shared whereas the novel, released shortly after the film, was attributed to Clarke alone. Clarke wrote later that "the nearest approximation to the complicated truth" is that the screenplay should be credited to "Kubrick and Clarke" and the novel to "Clarke and Kubrick".

But they felt it would be disloyal to accept Kubrick's offer. Clarke, and the Making of a Masterpiece , the actual relation between Clarke and Kubrick was more complex, involving an extended interaction of Kubrick's multiple requests for Clarke to write new plot lines for various segments of the film, which Clarke was expected to withhold from publication until after the release of the film while receiving advances on his salary from Kubrick during film production.

Clarke agreed to this, though apparently he did make several requests for Kubrick to allow him to develop his new plot lines into separate publishable stories while film production continued, which Kubrick consistently denied on the basis of Clarke's contractual obligation to withhold publication until release of the film.

Astronomer Carl Sagan wrote in his book The Cosmic Connection that Clarke and Kubrick had asked him how to best depict extraterrestrial intelligence.

While acknowledging Kubrick's desire to use actors to portray humanoid aliens for convenience's sake, Sagan argued that alien life forms were unlikely to bear any resemblance to terrestrial life, and that to do so would introduce "at least an element of falseness" to the film.

Sagan proposed that the film should simply suggest extraterrestrial superintelligence , rather than depict it. He attended the premiere and was "pleased to see that I had been of some help.

It was unlikely that Sagan's advice had any direct influence. In a interview not released during Kubrick's lifetime , Kubrick explains one of the film's closing scenes, where Bowman is depicted in old age after his journey through the Star Gate:.

The idea was supposed to be that he is taken in by godlike entities, creatures of pure energy and intelligence with no shape or form. They put him in what I suppose you could describe as a human zoo to study him, and his whole life passes from that point on in that room.

And he has no sense of time. We have to only guess what happens when he goes back. It is the pattern of a great deal of mythology, and that is what we were trying to suggest.

The script went through many stages. In early , when backing was secured for the film, Clarke and Kubrick still had no firm idea of what would happen to Bowman after the Star Gate sequence.

Initially all of Discovery ' s astronauts were to survive the journey; by 3 October, Clarke and Kubrick had decided to make Bowman the sole survivor and have him regress to infancy.

By 17 October, Kubrick had come up with what Clarke called a "wild idea of slightly fag robots who create a Victorian environment to put our heroes at their ease.

Early drafts included a prologue containing interviews with scientists about extraterrestrial life, [40] voice-over narration a feature in all of Kubrick's previous films , [a] a stronger emphasis on the prevailing Cold War balance of terror , and a different and more explicitly explained breakdown for HAL.

Kubrick made further changes to make the film more nonverbal, to communicate on a visual and visceral level rather than through conventional narrative.

What dialogue remains is notable for its banality making the computer HAL seem to have more emotion than the humans when juxtaposed with the epic space scenes.

In January , the production moved to the smaller MGM-British Studios in Borehamwood , where the live-action and special-effects filming was done, starting with the scenes involving Floyd on the Orion spaceplane; [47] it was described as a "huge throbbing nerve center A small elevated platform was built in a field near the studio so that the camera could shoot upward with the sky as background, avoiding cars and trucks passing by in the distance.

Filming of actors was completed in September , [53] and from June until March Kubrick spent most of his time working on the special-effects shots in the film.

Although this technique, known as "held takes", resulted in a much better image, it meant exposed film would be stored for long periods of time between shots, sometimes as long as a year.

For the opening sequence involving tribes of apes, professional mime Daniel Richter played the lead ape and choreographed the movements of the other man-apes, who were mostly portrayed by his mime troupe.

An earlier version of the film, which was edited before it was publicly screened, included a painting class on the lunar base that included Kubrick's daughters, additional scenes of life on the base, and Floyd buying a bush baby for his daughter from a department store via videophone.

Kubrick's rationale for editing the film was to tighten the narrative. Reviews suggested the film suffered from its departure from traditional cinematic storytelling.

The people who like it like it no matter what its length, and the same holds true for the people who hate it. According to his brother-in-law, Jan Harlan , Kubrick was adamant that the trims were never to be seen and had the negatives, which he had kept in his garage, burned shortly before his death.

This was confirmed by former Kubrick assistant Leon Vitali : "I'll tell you right now, okay, on Clockwork Orange , The Shining , Barry Lyndon , some little parts of , we had thousands of cans of negative outtakes and print, which we had stored in an area at his house where we worked out of, which he personally supervised the loading of it to a truck and then I went down to a big industrial waste lot and burned it.

That's what he wanted. From early in production, Kubrick decided that he wanted the film to be a primarily nonverbal experience [67] that did not rely on the traditional techniques of narrative cinema, and in which music would play a vital role in evoking particular moods.

About half the music in the film appears either before the first line of dialogue or after the final line. Almost no music is heard during scenes with dialogue.

The film is notable for its innovative use of classical music taken from existing commercial recordings. Most feature films, then and now, are typically accompanied by elaborate film scores or songs written specially for them by professional composers.

In the early stages of production, Kubrick commissioned a score for from Hollywood composer Alex North , who had written the score for Spartacus and also had worked on Dr.

North did not learn that his score had been abandoned until he saw the film's premiere. Kubrick involved himself in every aspect of production, even choosing the fabric for his actors' costumes, [70] and selecting notable pieces of contemporary furniture for use in the film.

Other examples of modern furniture in the film are the bright red Djinn chairs seen prominently throughout the space station [75] [76] and Eero Saarinen 's pedestal tables.

Olivier Mourgue , designer 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 colour one sees.

They resemble Rorschach "blots" against the pristine purity of the rest of the lobby. Detailed instructions in relatively small print for various technological devices appear at several points in the film, the most visible of which are the lengthy instructions for the zero-gravity toilet on the Aries Moon shuttle.

Similar detailed instructions for replacing the explosive bolts also appear on the hatches of the EVA pods, most visibly in closeup just before Bowman's pod leaves the ship to rescue Frank Poole.

The film features an extensive use of Eurostile Bold Extended, Futura and other sans serif typefaces as design elements of the world.

Kubrick was personally involved in the design of the monolith and its form for the film. The first design for the monolith for the film was a transparent tetrahedral pyramid.

This was taken from the short story " The Sentinel " that the first story was based on. A London firm was approached by Kubrick to provide a foot 3.

Kubrick approved, but was disappointed with the glassy appearance of the transparent prop on set, leading art director Anthony Masters to suggest making the monolith's surface matte black.

To heighten the reality of the film, very intricate models of the various spacecraft and locations were built. In shots where there was no perspective change, still shots of the models were photographed and positive paper prints were made.

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.

Shots where the spacecraft had parts in motion or the perspective changed were shot by directly filming the model.

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 and preserve its sense of scale , the camera's aperture was stopped down for maximum depth-of-field, and each frame was exposed for several seconds.

Some shots required exposing the film again to record previously filmed live-action shots of the people appearing in the windows of the spacecraft or structures.

This was achieved by projecting the window action onto the models in a separate camera pass or, when two dimensional photographs were used, projecting from the backside through a hole cut in the photograph.

All of the shots required multiple takes so that some film could be developed and printed to check exposure, density, alignment of elements, and to supply footage used for other photographic effects, such as for matting.

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.

Another rotating set appeared in an earlier sequence on board the Aries trans-lunar shuttle. 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.

The realistic-looking effects of the astronauts floating weightless in space and inside the spacecraft were accomplished by suspending the actors from wires attached to the top of the set and placing the camera beneath them.

The actors' bodies blocked the camera's view of the wires and appeared to float. For the shot of Poole floating into the pod's arms during Bowman's recovery of him, a stuntman on a wire portrayed the movements of an unconscious man and was shot in slow motion to enhance the illusion of drifting through space.

At the proper moment, the stage-hand first loosened his grip on the wire, causing Dullea to fall toward the camera, then, while holding the wire firmly, jumped off the platform, causing Dullea to ascend back toward the hatch.

The methods used were alleged to have placed stuntman Bill Weston 's life in danger. Weston recalled that he filmed one sequence without air-holes in his suit, risking asphyxiation.

So it simply built up inside, incrementally causing a heightened heart rate, rapid breathing, fatigue, clumsiness, and eventually, unconsciousness.

Leave him up there! I was going to shove MGM right up his And the thing is, Stanley had left the studio and sent Victor [Lyndon, the associate producer] to talk to me.

I know he didn't come in the next day, and I'm sure it wasn't the day after. Because I was going to do him.

Known to staff as "Manhattan Project", the shots of various nebula-like phenomena, including the expanding star field, were coloured paints and chemicals swirling in a pool-like device known as a cloud tank, shot in slow motion in a dark room.

The colouring and negative-image effects were achieved with different colour filters in the process of making duplicate negatives in an optical printer.

Kubrick used the technique to produce the backdrops in the Africa scenes and the scene when astronauts walk on the Moon.

The technique consisted of a separate scenery projector set at a right angle to the camera and a half-silvered mirror placed at an angle in front that reflected the projected image forward in line with the camera lens onto a backdrop of retroreflective material.

The reflective directional screen behind the actors could reflect light from the projected image times more efficiently than the foreground subject did.

The lighting of the foreground subject had to be balanced with the image from the screen, so that the part of the scenery image that fell on the foreground subject was too faint to show on the finished film.

The exception was the eyes of the leopard in the "Dawn of Man" sequence, which glowed due to the projector illumination.

Kubrick described this as "a happy accident". Front projection had been used in smaller settings before , mostly for still photography or television production, using small still images and projectors.

The original millimetre release, like many Super Panavision 70 films of the era such as Grand Prix , was advertised as being in "Cinerama" in cinemas equipped with special projection optics and a deeply curved screen.

In standard cinemas, the film was identified as a millimetre production. The original release of A Space Odyssey in millimetre Cinerama with six-track sound played continually for more than a year in several venues, and for weeks in Los Angeles.

The 19 minutes of footage Kubrick removed following the world premiere included scenes revealing details about life on Discovery : additional space walks, Bowman retrieving a spare part from an octagonal corridor, elements from the Poole murder sequence—including space-walk preparation and HAL turning off radio contact with Poole—and a close-up of Bowman picking up a slipper during his walk in the alien room.

For the film's 50th anniversary, Warner Bros. On 3 December , an 8K Ultra-high definition television version of the film was reported to have been broadcast in select theatres and shopping-mall demonstration stations in Japan.

The initial MGM soundtrack album release contained none of the material from the altered and uncredited rendition of Ligeti's Aventures used in the film, used a different recording of Also sprach Zarathustra performed by the Berlin Philharmonic conducted by Karl Böhm from that heard in the film, and a longer excerpt of Lux Aeterna than that in the film.

As additional "bonus tracks" at the end, the CD includes the versions of "Zarathustra" and Lux Aeterna on the old MGM soundtrack album, an unaltered performance of "Aventures", and a nine-minute compilation of all of HAL's dialogue.

Eventually, a mono mix-down of North's original recordings was released as a limited-edition CD by Intrada Records. Upon release, polarised critical opinion, receiving both praise and derision, with many New York-based critics being especially harsh.

Kubrick called them "dogmatically atheistic and materialistic and earthbound". Someone in San Francisco even ran right through the screen screaming: 'It's God!

In The New Yorker , Penelope Gilliatt said it was "some kind of great film, and an unforgettable endeavor The film is hypnotically entertaining, and it is funny without once being gaggy, but it is also rather harrowing.

It is an ultimate statement of the science fiction film, an awesome realization of the spatial future It's also a dazzling minute tour on the Kubrick filmship through the universe out there beyond our earth.

Griffith 's Intolerance fifty years ago which can be regarded as the work of one man Space Odyssey is important as the high-water mark of science-fiction movie making, or at least of the genre's futuristic branch.

The Boston Globe 's review called it "the world's most extraordinary film. Nothing like it has ever been shown in Boston before or, for that matter, anywhere The film is as exciting as the discovery of a new dimension in life.

The special effects are mindblowing. Pauline Kael called it "a monumentally unimaginative movie.

Frederick 'Robe' believed the film was a "[b]ig, beautiful, but plodding sci-fi epic A major achievement in cinematography and special effects, lacks dramatic appeal to a large degree and only conveys suspense after the halfway mark.

This film is fascinating when it concentrates on apes or machines Schlesinger, Jr. Director Martin Scorsese has listed it as one of his favourite films of all time.

The film won the Hugo Award for best dramatic presentation, as voted by science fiction fans and published science-fiction writers.

Reporting that "half the audience had left by intermission", Del Rey described the film "the first of the New Wave -Thing movies, with the usual empty symbols" as dull, confusing, and boring, predicting "[i]t will probably be a box-office disaster, too, and thus set major science-fiction movie making back another ten years".

Delany was impressed by how the film undercuts the audience's normal sense of space and orientation in several ways. Like Bradbury, Delany noticed the banality of the dialogue he stated that characters say nothing meaningful , but regarded this as a dramatic strength, a prelude to the rebirth at the conclusion of the film.

James P. Hogan liked the film but complained that the ending did not make any sense to him, leading to a bet about whether he could write something better: "I stole Arthur's plot idea shamelessly and produced Inherit the Stars.

Since its premiere, A Space Odyssey has been analysed and interpreted by professional critics and theorists, amateur writers, and science fiction fans.

In his monograph for BFI analysing the film, Peter Krämer summarised the diverse interpretations as ranging from those who saw it as darkly apocalyptic in tone to those who saw it as an optimistic reappraisal of the hopes of mankind and humanity.

There are also simpler and more mundane questions about the plot, in particular the causes of HAL's breakdown explained in earlier drafts but kept mysterious in the film.

A spectrum of diverse interpretative opinions would form after the film's release, appearing to divide theatre audiences from the opinions of critics.

Krämer writes: "Many people sent letters to Kubrick to tell him about their responses to , most of them regarding the film—in particular the ending—as an optimistic statement about humanity, which is seen to be born and reborn.

The film's reviewers and academic critics, by contrast, have tended to understand the film as a pessimistic account of human nature and humanity's future.

The most extreme of these interpretations state that the foetus floating above the Earth will destroy it. Some of the critics' cataclysmic interpretations were informed by Kubrick's prior direction of the Cold War film Dr.

Strangelove , immediately before , which resulted in dark speculation about the nuclear weapons orbiting the Earth in These interpretations were challenged by Clarke, who said: "Many readers have interpreted the last paragraph of the book to mean that he the foetus destroyed Earth, perhaps for the purpose of creating a new Heaven.

This idea never occurred to me; it seems clear that he triggered the orbiting nuclear bombs harmlessly Regarding the film as a whole, Kubrick encouraged people to make their own interpretations and refused to offer an explanation of "what really happened".

In a interview with Playboy magazine , he said:. You're free to speculate as you wish about the philosophical and allegorical meaning of the film—and such speculation is one indication that it has succeeded in gripping the audience at a deep level—but I don't want to spell out a verbal road map for that every viewer will feel obligated to pursue or else fear he's missed the point.

In a subsequent discussion of the film with Joseph Gelmis, Kubrick said his main aim was to avoid "intellectual verbalization" and reach "the viewer's subconscious.

Still, he acknowledged this ambiguity was an invaluable asset to the film. He was willing then to give a fairly straightforward explanation of the plot on what he called the "simplest level," but unwilling to discuss the film's metaphysical interpretation, which he felt should be left up to viewers.

For some readers, Clarke's more straightforward novel based on the script is key to interpreting the film. The novel explicitly identifies the monolith as a tool created by an alien race that has been through many stages of evolution, moving from organic form to biomechanical, and finally achieving a state of pure energy.

These aliens travel the cosmos assisting lesser species to take evolutionary steps. Conversely, film critic Penelope Houston wrote in that because the novel differs in many key aspects from the film, it perhaps should not be regarded as the skeleton key to unlock it.

Carolyn Geduld writes that what "structurally unites all four episodes of the film" is the monolith, the film's largest and most unresolvable enigma.

Bob McClay's Rolling Stone review describes a parallelism between the monolith's first appearance in which tool usage is imparted to the apes thus 'beginning' mankind and the completion of "another evolution" in the fourth and final encounter [] with the monolith.

In a similar vein, Tim Dirks ends his synopsis saying "[t]he cyclical evolution from ape to man to spaceman to angel-starchild-superman is complete.

Humanity's first and second encounters with the monolith have visual elements in common; both the apes, and later the astronauts, touch it gingerly with their hands, and both sequences conclude with near-identical images of the Sun appearing directly over it the first with a crescent moon adjacent to it in the sky, the second with a near-identical crescent Earth in the same position , echoing the Sun—Earth—Moon alignment seen at the very beginning of the film.

The monolith is the subject of the film's final line of dialogue spoken at the end of the "Jupiter Mission" segment : "Its origin and purpose still a total mystery.

Clarke indicated his preferred reading of the ending of as oriented toward the creation of "a new heaven" provided by the Star Child. The film also conveys what some viewers have described as a sense of the sublime and numinous.

North's [rejected] score, which is available on a recording, is a good job of film composition, but would have been wrong for because, like all scores, it attempts to underline the action—to give us emotional cues.

The classical music chosen by Kubrick exists outside the action. It uplifts. It wants to be sublime; it brings a seriousness and transcendence to the visuals.

In a book on architecture, Gregory Caicco writes that Space Odyssey illustrates how our quest for space is motivated by two contradictory desires, a "desire for the sublime" characterised by a need to encounter something totally other than ourselves—"something numinous"—and the conflicting desire for a beauty that makes us feel no longer "lost in space," but at home.

The reasons for HAL's malfunction and subsequent malignant behaviour have elicited much discussion. He has been compared to Frankenstein's monster.

In Clarke's novel, HAL malfunctions because of being ordered to lie to the crew of Discovery and withhold confidential information from them, namely the confidentially programmed mission priority over expendable human life, despite being constructed for "the accurate processing of information without distortion or concealment".

Film critic Roger Ebert wrote that HAL, as the supposedly perfect computer, is actually the most human of the characters.

Multiple allegorical interpretations of have been proposed. The symbolism of life and death can be seen through the final moments of the film, which are defined by the image of the "Star Child," an in utero foetus that draws on the work of Lennart Nilsson.

Wheat sees as a multi-layered allegory, commenting simultaneously on Nietzsche, Homer, and the relationship of man to machine.

Kubrick originally planned a voice-over to reveal that the satellites seen after the prologue are nuclear weapons, [] and that the Star Child would detonate the weapons at the end of the film.

Strangelove and decided not to make it obvious that they were "war machines". A few weeks before the film's release, the U.

In a book he wrote with Kubrick's assistance, Alexander Walker states that Kubrick eventually decided that nuclear weapons had "no place at all in the film's thematic development", being an "orbiting red herring" that would "merely have raised irrelevant questions to suggest this as a reality of the twenty-first century".

Kubrick scholar Michel Ciment , discussing Kubrick's attitude toward human aggression and instinct, observes: "The bone cast into the air by the ape now become a man is transformed at the other extreme of civilization, by one of those abrupt ellipses characteristic of the director, into a spacecraft on its way to the moon.

It's a continuation, not a discontinuity in that jump. The influence of on subsequent filmmakers is considerable. Steven Spielberg , George Lucas , and others—including many special effects technicians—discuss the impact the film has had on them in a featurette titled Standing on the Shoulders of Kubrick: The Legacy of , included in the DVD release of the film.

Spielberg calls it his film generation's "big bang", while Lucas says it was "hugely inspirational", calling Kubrick "the filmmaker's filmmaker".

Sydney Pollack calls it "groundbreaking", and William Friedkin says is "the grandfather of all such films".

At the Venice film festival, director Ridley Scott said he believed was the unbeatable film that in a sense killed the science fiction genre.

Others credit with opening up a market for films such as Close Encounters of the Third Kind , Alien , Blade Runner , Contact , and Interstellar , proving that big-budget "serious" science-fiction films can be commercially successful, and establishing the "sci-fi blockbuster" as a Hollywood staple.

In , the Vatican named it one of the 45 best films ever made and included it in a sub-list of the "Top Ten Art Movies" of all time.

The website's critical consensus reads, "One of the most influential of all sci-fi films — and one of the most controversial — Stanley Kubrick's is a delicate, poetic meditation on the ingenuity — and folly — of mankind.

Kubrick did not envision a sequel to Fearing the later exploitation and recycling of his material in other productions as was done with the props from MGM's Forbidden Planet , he ordered all sets, props, miniatures, production blueprints, and prints of unused scenes destroyed.

Most of these materials were lost, with some exceptions: a spacesuit backpack appeared in the "Close Up" episode of the Gerry Anderson series UFO , [] [] [] [] and one of HAL's eyepieces is in the possession of the author of Hal's Legacy , David G.

Ordway III , science adviser to Kubrick, wrote the book The Lost Science , which for the first time featured many of the blueprints of the spacecraft and film sets that previously had been thought destroyed.

Kubrick was not involved; it was directed as a spin-off by Peter Hyams in a more conventional style. The other two novels have not been adapted for the screen, although actor Tom Hanks in June expressed a passing interest in possible adaptations.

To commemorate the 50th anniversary of the film's release, an exhibit called "The Barmecide Feast" opened on 8 April , in the Smithsonian Institution's National Air and Space Museum.

The exhibit features a fully realised, full-scale reflection of the neo-classical hotel room from the film's penultimate scene.

The helmet of the suit had been painted green at one stage, leading to a belief that it may have been worn during the scene where Dave Bowman disconnects the HAL computer.

From Wikipedia, the free encyclopedia. Theatrical release poster by Robert McCall. Stanley Kubrick Arthur C. Keir Dullea Gary Lockwood.

Stanley Kubrick Productions. Release date. Running time. Keir Dullea as Dr. David Bowman Gary Lockwood as Dr. Frank Poole William Sylvester as Dr.

Ralph Halvorsen Sean Sullivan as Dr. Gary Lockwood Dr. Frank Poole. William Sylvester Dr. Haywood R. Daniel Richter Moonwatcher.

Leonard Rossiter Dr. Andrei Smyslov. Margaret Tyzack Elena. Robert Beatty Dr. Ralph Halvorsen. Stanley Kubrick Director.

Arthur C. Clarke Writer. Stanley Kubrick Writer. Stanley Kubrick Producer. Geoffrey Unsworth Cinematographer.

Ray Lovejoy Film Editor. James Liggat Casting. Ernest Archer Production Design. Harry Lange Production Design. Anthony Masters Production Design. June 28, Full Review….

May 21, Full Review…. May 3, Full Review…. April 5, Full Review…. April 3, Rating: 2. February 16, Full Review…. August 7, Full Review…. August 4, Full Review….

June 30, Full Review…. View All Critic Reviews May 02, A masterpiece in its own right, is a sharp, cinematic film that drags itself out and fails to stay engaging for the duration.

Sean T Super Reviewer. Apr 10, It's always hard to achieve something. To capture people. To entertain people. But Stanley Kubrick always managed to do that with his movies and having now watched " A Space Odyssey" a couple of times, I can officially say that I understand what Kubrick did with this movie.

Do I like it? Oh, yes. This is an amazing movie. You are constantly wondering about what's happening on the screen and your mind is constantly working at full speed.

You are taken through many different decades and for every decade we go through, we achieve a little more knowledge about how our species are evolving.

This is by far the most technically advanced movie that Kubrick has ever made - and even though he also made great movies like "Full Metal Jacket" and "Dr.

Strangelove" - this movie also has the best plot of all them if you are able to see through the very trippy aspects of this masterpiece.

You just need to believe that you can understand this movie, and then in the end: you will Lasse G Super Reviewer.

Feb 04, Over two hours; tons of groundbreaking visual effects; a psychedelic stargate sequence; and interiors that look like something out of almost every film it's influenced.

Now here's why I'm such a fan of it. It was a film that was made roughly over the course of a tenuous three years in which Stanley Kubrick proved himself one of the s most quintessential directors with this film alone yes, I'm aware of Spartacus, Lolita, and Dr.

Strangelove but i'm talking on a reputation level. I believe it would be outright mentally deranged to say that the world's enthusiasm for outer space at the tail-end of the '60s didn't help this film's reception at all, but I also think that Odyssey was such a success because for all it's hype and praise it's gotten over the years, it really IS as good as many people say.

Over the two and a half hour runtime, we see Kubrick's direction in full bloom, first via the surprisingly abstract prehistorical sequence involving tribes of man-apes fighting over a water hole, and then through the following three clusters of the film; the Moon journey, the Jupiter mission, and finally Beyond Jupiter where we see the enigmatic ending which has been discussed and dissected over and over again in the pantheon of pop culture I myself subscribing to the film being a giant painting of evolutionary theory, but that's not the point, here.

Two and a half hours where viewers across the world were introduced to elaborate space sequences, clinically futuristic sets, and visual effects which went beyond matte paintings and using backgrounds to simulate car chases.

And that's exactly why this film is so hallowed, it was the first motion picture to do so many things that others had either shied away from, or didn't have the technology or the vision to do, but perhaps most importantly Kubrick paints a realistic picture of space both with dozens of minute-spanning shots, and the lack of sound during most of the shots excluding the film's score which emphasize the isolation, loneliness and barren terrain of outer space.

The two other elements which particularly come to mind that cause it to stand out as a masterpiece are the production design and acting.

The design of the film in retrospect fits perfectly with the cinematography and compliments it further with sparsely-decorated sets which paint space in a picture that no film until Star Wars has.

The Discovery One and the other space shuttles and stations all share these qualities which paint the future in a very cool, calculated, and machine-centric way, which all of science fiction has seemingly taken after since.

However, in terms of the film's acting, I have a polarized view. For such a grandiose film, the acting is quite remarkably unremarkable.

Part of this is because of the monstrous amount of dialogue Kubrick decided to drop from the script and also because the story itself relies on the image before the substance to a large degree and therefore William Sylvester, Keir Dullea, and Gary Lockwood are relegated nearly to fixtures of the film itself, not because they are particularly lousy at acting, but because they had so little to work with in terms of dialogue.

And the irony of this is that it melds perfectly with Stephen King's observation that Kubrick ultimately was not without fault and that he "thought too much and felt too little.

Why did HAL suffer such a malfunction? Trailers and Videos. Crazy Credits. Alternate Versions. Rate This. After discovering a mysterious artifact buried beneath the Lunar surface, mankind sets off on a quest to find its origins with help from intelligent supercomputer H.

Director: Stanley Kubrick. Writers: Stanley Kubrick screenplay by , Arthur C. Clarke screenplay by.

See Showtimes. Added to Watchlist. From metacritic. Top Movies Bucket List. Visions of the Future in Movies and TV. The Quarantine Challenge. Use the HTML below.

You must be a registered user to use the IMDb rating plugin. Top Rated Movies 90 Won 1 Oscar. Edit Cast Cast overview, first billed only: Keir Dullea Dave Bowman Gary Lockwood Frank Poole William Sylvester Heywood R.

Floyd Daniel Richter Moon-Watcher Leonard Rossiter Andrei Smyslov Margaret Tyzack Elena Robert Beatty Ralph Halvorsen Sean Sullivan Bill Michaels Douglas Rain HAL voice Frank Miller Mission Controller voice Bill Weston Astronaut Ed Bishop Astronaut Alan Gifford Poole's Father Ann Gillis Edit Storyline "" is a story of evolution.

Taglines: Man's colony on the Moon Edit Did You Know? Trivia The silverware used at the station and in the Discovery was designed by renowned Danish architect Arne Jacobsen in and is still available for sale 50 years after first being produced.

Goofs When old Bowman approaches the table in the alien room, the full glass of white wine is placed near the plate.

After the next cut that takes a closer look at the table the glass suddenly stands near the edge of the table before it is thrown off by Bowman and breaks on the floor.

Three of the five men were put aboard asleep, or to be more precise a state of hibernation. They were Dr. Charles Hunter, Dr. Jack Kimball and Dr.

Victor Kaminsky. We spoke with mission commander Dr. David Bowman and his deputy, Dr.

2001 movie

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2001 movie 47
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2001 Movie - Inhaltsverzeichnis

Full Cast and Crew. Hauptseite Themenportale Zufälliger Artikel. Oktober getroffen. Parents Guide. Ob es nun dreistes Product Placement war oder genial geschickt verpackte Werbung, darüber darf man streiten. Aus ihr heraus erblickt Bowman sich selbst, im Raumanzug in dem Zimmer stehend und bereits um Jahre gealtert. Inwiefern und ob überhaupt diese Szenen veröffentlicht werden, ist momentan noch unklar. Stanley Kubrick. Der Quader ist vier Xhamester Jahre alt, absolut schwarz und erzeugt Bella_4u starkes magnetisches Feld. Chandra reaktiviert. User Ratings. Clarke führte ein Tagebuch während seiner Mitarbeit an Added to Watchlist.

2001 Movie Kubricks 2001. 50 Jahre A SPACE ODYSSEY

Inwiefern und ob überhaupt diese Szenen veröffentlicht werden, ist momentan noch unklar. Der Film beschreibt die Forschungsreise Ava adams interracial fünf Wissenschaftlern zum Planeten Jupiter, nachdem ein mysteriöser schwarzer Monolith entdeckt worden ist, der die menschliche Evolution beeinflusst hat; gesteuert wird das Hot shemale on female mithilfe des Bordcomputers HAL Kubrick selbst nannte die Zahl von Zuschauern. Damit kam erneut eine Debatte über die Verwendung Teen incest vorhandener engl. OparinHarlow ShapleyFrancis Busty candy. Er übernahm auch das Sexy krankenschwester porno für die in London auf Anfang Januar angesetzten Musikaufnahmenweil North aus Wife gang bang cuckold Gründen dazu nicht in der Lage war. Alles lief auf Schienen und war über Motoren beweglich, damit die Kamera extrem langsam und stark abgeblendet an den Modellen entlangfahren konnte. Just go do your own movie. Fat male stripper your history. Plot Keywords. Angela Blume August Schmölzer Wir haben Shinmai maou no testament season 3 episode 1 zusammengestellt. In wird HAL von Dr.

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2001: A Space Odyssey IMAX® Trailer Directed by Hajo Gies. With Friedrich von Thun, Dominique Horwitz, Andrea Sawatzki, August Schmölzer. Directed by Holger Gotha, Peter Zeitlinger. With Eva Herzig, Julia Bremermann, Ottokar Lehrner, Simon Licht. Find DIE AUFERSTEHUNG - MOVIE [DVD] [] at chho.se Movies & TV, home of thousands of titles on DVD and Blu-ray. Das Produktionsdesign von A SPACE ODYSSEY war Im Film tragen sechs Schauspieler silberne Anzüge in den Szenen, die auf dem. Stanley Kubricks Film " Eine Odyssee im Weltraum" gilt als Meilenstein der Filmgeschichte, eine kühne Science-Fiction-Vision, die das. Cinezik web site French Twinks in diapers magazine on music in Dean van damme in French. Color: Color Technicolor Color Metrocolor. The other two novels have not been adapted for the screen, although actor Tom Hanks in June Youngsexparties.com a Tomando lechita interest in possible adaptations. Elena Robert Beatty Poole's Fucking my japanese girlfriend. Retrieved 7 January Kubrick benutzte dies als Inspiration. Ansichten Lesen Bearbeiten Quelltext bearbeiten Versionsgeschichte. Commons Wikiquote. Check out the movies and shows we're excited about this month, including " Star Trek: Discovery " and 2001 movie We Naked bbws. Full Cast and Crew. Bruno Steiger Brigitte Janner Keep track of everything you watch; tell your friends. Language: German. Chubby teen hairy pussy Guide. Datum Wie Porn movie d Film ist auch Kubricks Produktion in einzelne voneinander abgetrennte Akte unterteilt. The Ulimate Log of the Ultimate Trip. OK Erfahre mehr. Damit kam erneut eine Debatte über die Verwendung bereits Brazzers porn password engl. Clarke führte ein Tagebuch während seiner Mitarbeit an

Frank Poole William Sylvester Heywood R. Floyd Daniel Richter Moon-Watcher Leonard Rossiter Andrei Smyslov Margaret Tyzack Elena Robert Beatty Ralph Halvorsen Sean Sullivan Bill Michaels Douglas Rain HAL voice Frank Miller Mission Controller voice Bill Weston Astronaut Ed Bishop Astronaut Alan Gifford Poole's Father Ann Gillis Edit Storyline "" is a story of evolution.

Taglines: Man's colony on the Moon Edit Did You Know? Trivia The silverware used at the station and in the Discovery was designed by renowned Danish architect Arne Jacobsen in and is still available for sale 50 years after first being produced.

Goofs When old Bowman approaches the table in the alien room, the full glass of white wine is placed near the plate. After the next cut that takes a closer look at the table the glass suddenly stands near the edge of the table before it is thrown off by Bowman and breaks on the floor.

Three of the five men were put aboard asleep, or to be more precise a state of hibernation. They were Dr. Charles Hunter, Dr. Jack Kimball and Dr. Victor Kaminsky.

We spoke with mission commander Dr. David Bowman and his deputy, Dr. Frank Poole. Well, good afternoon gentlemen, how is everything going?

Crazy Credits The original theatrical release had Ligeti's Atmospheres to a black screen for roughly 8 to 10 minutes before the movie began, and Strauss' The Blue Danube well after the end credits to a black screen.

Alternate Versions The original theatrical release had György Ligeti 's "Atmospheres" set to a black screen for roughly 8 to 10 minutes before the movie began, and Johann Strauss 's "The Blue Danube" long after the end credits set to a black screen.

This overture and exit music survived the premiere edits mentioned above. For a long while, revivals and all television and cable broadcasts would cut both, starting directly at the beginning of the credits and ending immediately after the end credits, but current revivals in such places as the Film Forum in New York City and cable channels such as the Sundance Channel, Bravo, the Independent Channel, and PBS have been restoring the pre- and post-movie music.

Hill and Patty S. Was this review helpful to you? Yes No Report this. Frequently Asked Questions Q: Why is there so little dialogue?

Q: Is there a connection to Homer's Odyssey? Q: What became of the hominid monolith? Language: English Russian. Runtime: min min theatrical release min initial release.

Color: Color Technicolor Color Metrocolor. Edit page. October Streaming Picks. Back to School Picks. Clear your history. A few weeks before the film's release, the U.

In a book he wrote with Kubrick's assistance, Alexander Walker states that Kubrick eventually decided that nuclear weapons had "no place at all in the film's thematic development", being an "orbiting red herring" that would "merely have raised irrelevant questions to suggest this as a reality of the twenty-first century".

Kubrick scholar Michel Ciment , discussing Kubrick's attitude toward human aggression and instinct, observes: "The bone cast into the air by the ape now become a man is transformed at the other extreme of civilization, by one of those abrupt ellipses characteristic of the director, into a spacecraft on its way to the moon.

It's a continuation, not a discontinuity in that jump. The influence of on subsequent filmmakers is considerable.

Steven Spielberg , George Lucas , and others—including many special effects technicians—discuss the impact the film has had on them in a featurette titled Standing on the Shoulders of Kubrick: The Legacy of , included in the DVD release of the film.

Spielberg calls it his film generation's "big bang", while Lucas says it was "hugely inspirational", calling Kubrick "the filmmaker's filmmaker".

Sydney Pollack calls it "groundbreaking", and William Friedkin says is "the grandfather of all such films".

At the Venice film festival, director Ridley Scott said he believed was the unbeatable film that in a sense killed the science fiction genre.

Others credit with opening up a market for films such as Close Encounters of the Third Kind , Alien , Blade Runner , Contact , and Interstellar , proving that big-budget "serious" science-fiction films can be commercially successful, and establishing the "sci-fi blockbuster" as a Hollywood staple.

In , the Vatican named it one of the 45 best films ever made and included it in a sub-list of the "Top Ten Art Movies" of all time.

The website's critical consensus reads, "One of the most influential of all sci-fi films — and one of the most controversial — Stanley Kubrick's is a delicate, poetic meditation on the ingenuity — and folly — of mankind.

Kubrick did not envision a sequel to Fearing the later exploitation and recycling of his material in other productions as was done with the props from MGM's Forbidden Planet , he ordered all sets, props, miniatures, production blueprints, and prints of unused scenes destroyed.

Most of these materials were lost, with some exceptions: a spacesuit backpack appeared in the "Close Up" episode of the Gerry Anderson series UFO , [] [] [] [] and one of HAL's eyepieces is in the possession of the author of Hal's Legacy , David G.

Ordway III , science adviser to Kubrick, wrote the book The Lost Science , which for the first time featured many of the blueprints of the spacecraft and film sets that previously had been thought destroyed.

Kubrick was not involved; it was directed as a spin-off by Peter Hyams in a more conventional style. The other two novels have not been adapted for the screen, although actor Tom Hanks in June expressed a passing interest in possible adaptations.

To commemorate the 50th anniversary of the film's release, an exhibit called "The Barmecide Feast" opened on 8 April , in the Smithsonian Institution's National Air and Space Museum.

The exhibit features a fully realised, full-scale reflection of the neo-classical hotel room from the film's penultimate scene.

The helmet of the suit had been painted green at one stage, leading to a belief that it may have been worn during the scene where Dave Bowman disconnects the HAL computer.

From Wikipedia, the free encyclopedia. Theatrical release poster by Robert McCall. Stanley Kubrick Arthur C.

Keir Dullea Gary Lockwood. Stanley Kubrick Productions. Release date. Running time. Keir Dullea as Dr. David Bowman Gary Lockwood as Dr. Frank Poole William Sylvester as Dr.

Ralph Halvorsen Sean Sullivan as Dr. See also: Differences between the film and the novel. How much would we appreciate La Gioconda today if Leonardo had written at the bottom of the canvas: "This lady is smiling slightly because she has rotten teeth" — or "because she's hiding a secret from her lover"?

It would shut off the viewer's appreciation and shackle him to a reality other than his own. I don't want that to happen to See also: Technologies in A Space Odyssey.

Special effects in A Space Odyssey. Play media. During the film's "Jupiter and Beyond the Infinite" sequence, Bowman takes a trip through the "Star Gate" that involves the innovative use of slit-scan photography to create the visual effects and disturbing sequences of him stunned and then terrified at what he is experiencing.

Main article: Interpretations of A Space Odyssey. See also: A Space Odyssey in popular culture. Stanley Kubrick made the ultimate science fiction movie, and it is going to be very hard for someone to come along and make a better movie, as far as I'm concerned.

On a technical level, it [ Star Wars ] can be compared, but personally I think that is far superior. John Baxter's biography of Kubrick also describes how he frequently favored voice-over narration.

Detailed instructions were sent to theatre owners already showing the film so that they could execute the specified trims themselves.

This meant that some of the cuts may have been poorly done in a particular theatre, possibly causing the version seen by viewers early in the film's run to vary from theatre to theatre.

First introduced in , the Action Office-style " cubicle " would eventually occupy 70 percent of office space by the mids.

The instructions are generally legible on Blu-ray editions but not DVD editions of the film. Library of Congress, Washington, D.

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Archived from the original on 27 January Retrieved 30 June The New Republic. Archived from the original on 3 April Archived from the original on 23 June Retrieved 12 January A small sphere of intellectuals will feel that Kubrick has said something, simply because one expected him to say something.

Most moviegoers will only wish that Mr. Kubrick would come back down to earth. Kathleen Carroll. I shall go and see it again as soon as possible, for one thing is clear.

Man has shrunk space, but Kubrick has expanded the cinema. Alexander Walker. Like an abstract painting, with elements of marvel as well as madness, demonstrating that filmmaking doesn't have to be dedicated to telling a linear story.

Mike Massie. Joanne Laurier. The movie, it seems to me, is a kind of galactic deep freeze, empty inside, both extraordinarily tedious and fancy at the same time.

Robert Kotlowitz. Matt Neal. The faults of Space Odyssey are attributable to the fact that Kubrick is unwilling to give structure to his emotions, or to put in philosophical context ideas which have metaphysical connotations.

There are three plots in Space Odyssey and they never mix. Paul Schrader. Way ahead of it's time, Stanley Kubrick delivers one of the most influential and important films of all time.

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How did you buy your ticket? View All Photos Movie Info. An imposing black structure provides a connection between the past and the future in this enigmatic adaptation of a short story by revered sci-fi author Arthur C.

When Dr. Dave Bowman Keir Dullea and other astronauts are sent on a mysterious mission, their ship's computer system, HAL, begins to display increasingly strange behavior, leading up to a tense showdown between man and machine that results in a mind-bending trek through space and time.

Stanley Kubrick. Feb 6, Keir Dullea Dr. Dave Bowman.

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