I first saw this film when I was a little sci-fi-obsessed fanboy of 12 or so, and I was pretty flummoxed by the film in general, especially by the colorful psychedelic montage. In the following years I came to understand more about the film, but always thought "Well, when I'm older I'm sure the montage will seem profound".
Well no, I just saw the film again for the first time in years and the psychedelic montage seemed like a self-indulgent hodgepodge of effects that were fashionable at the time. So seriously, some of you Kubrick fans have some really interesting explanations for his work, so please tell me if there's more to it than an overlong hodgepodge of effects that were fashionable at the time?
There's plenty in that final 30 minutes, and it has nothing to do with LSD. It's a transformative & visionary experience, for those with eyes to see it.
The psychedelic montage is Dave basically passing through Kubrick’s/Clarke’s version of a wormhole. At the end of it, he reaches the home of the aliens who created the monolith, at which point he is placed in a “zoo” of sorts, where the aliens/monolith will eventually transform him into what’s known as “the starchild”. This represents the next stage in human evolution. Once Dave reaches this stage and has been transformed, he returns to Earth to advance all of humanity to that next evolutionary stage.
If you’re at all a fan of the movie, I highly recommend reading the novel. It’s one of Clarke’s best, and greatly clarifies a lot of what you see in the film.
Having read the book and seen the movie (and being a fan of both), I think the two are extremely different and may confuse people.
Clarke initially wrote the short story "The Sentinel" which was the basis for the film, but it only takes us up to the discovery of the monolith. In "The Sentinel" the monolith is destroyed, end of story. Kubrick took the story further in creating his film, and Clarke followed suit with his book which was published a month after the film. My point is the film is Kubrick's version, and the book is Clarke's version (in other words, the movie was not adapted from the book as a lot of people assume).
That said, Kubrick's story as well as his artistic style is much more expressionistic, expressing more mood and feeling than literal storytelling. Clarke explains things much more deliberately. For example, in Part 1, Clarke's book goes into precise detail about how the monolith "educated" the ape creature with images and audio-visual tasks. Kubrick, by contrast, simply showed the ape creature feeling intense curiosity as if coming to abstract awakening.
Which brings me to my point...
In Clarke's book ending, he goes into precise detail about how a "star gate" takes Bowman through alien worlds where he learns about other civilizations and eventually gets deposited in a menagerie where aliens feed him blue gloop and presumably alter, or "educate", him like the ape creature had been.
Kubrick's ending, like the beginning Part 1, is MUCH more abstract (and imo superior) to Clark literally spelling it out for us. Such is the beauty of the cinematic art form: a good director can use images to elicit an understanding that goes beyond words on a page.
Kubrick's final sequence represents the experience that lifts Bowman's consciousness beyond human existence. Just like the ape's consciousness evolves from ape to human, Kubrick's barrage of light & sound represents what you would feel if you suddenly evolved to higher understanding. Something words can't express. Was it effective, or was it overindulgent rubbish? That's up to the viewer.
In Kubrick’s version, Dave doesn’t evolve to higher understanding until he is dying in bed and finally reaches out to touch the monolith. When this happens, he is transformed into the starchild.
It's all part of the same process. Just like in the beginning, the ape creature is introduced to the monolith and has eery visions but doesn't actually reach "enlightenment" until later when he picks up the bone. Bowman also has his introduction to strange visions, but he doesn't reach his enlightenment until later when he begins to see his own existence from the outside.
The Kubrick version has these parallel bookends (ape & Bowman) which tie up the story neatly. A lot of people miss the parallels and think Kubrick just went on a random acid trip at the end, but he was really telling the same story as the beginning but on a higher level.
Well no, I just saw the film again for the first time in years and the psychedelic montage seemed like a self-indulgent hodgepodge of effects that were fashionable at the time.
This tells me that you've grown up into a adult that's never abused drugs to any real degree.
Seriously, good storytelling is difficult and I understand that these types of montages that leave questions is a cheap way out. But IMO, if you're going to charge money for a story, let's make it understandable.
It shouldn't be a chore for the viewer to be entertained, which is the whole point of movies.
The real shame of this film is that it's beautifully filmed, wonderfully acted, and the special affects are still astounding after all these decades. Everything is wonderful until the end. Too bad the last 30 minutes crashes and burns.
To me, this would be analogous to watching Shawshank Redemption for 2 hours, and in the last twenty minutes, have the inmate, warden, and guards do a West Side Story dance number, or pretending to row boats in pantomime.
I enjoy 2010 more. [spoiler] It doesn't answer the questions but at least Dr. Floyd's letter to home says they don't have a clue what the monolith is or the exact purpose of the two suns.[/spoiler]
'This tells me that you've grown up into a adult that's never abused drugs to any real degree. '
Got it in one!
But even if I had, I still wouldn't understand the point of an LSD trip at that point in the story. If that's the moment he leaves the reality he's known, why the LSD effects - did he take a hit before getting into his spaceship? If Kubrick's intent was to show unreality, things Dave saw but did not understand because they weren't part of his reality, Kubrick really should have used less fashionably psychedelic imagery.
I already told you exactly what the scene is about, and no, it’s not just my opinion. That is literally what is happening in the scene. Dave is being transported. The “psychedelic imagery” is a “gate” through both space and time which Dave is passing through. You see it because Dave sees it, because it’s actually there. It has nothing to do with drugs or being “fashionable”. Sure, Kubrick and Clarke don’t spoon feed you, but they’re also not being ambiguous.
“The whole point of movies” is to entertain? Let me ask you this...when you go to a museum, are you of the opinion that the paintings/sculptures/photography/whatever else is there solely to “entertain” you? I don’t mean this in a condescending way, but if your answer is yes, then I think you need to examine the role of art a little more thoroughly. “2001: A Space Odyssey” is not a Jackie Chan action comedy. While many scenes are indeed entertaining, the film is functioning on a far more cerebral level, and will only reward you if you’re willing to be patient and question the artist’s intent.
Let me ask you this...when you go to a museum, are you of the opinion that the paintings/sculptures/photography/whatever else is there solely to “entertain” you?
Apples and oranges. Movies and museums are quite different IMO. Still, I concede that if there was no entertainment value in museums I certainly wouldn't go to them unless I was doing research. Look, I have two advanced degrees, one in engineering. When I pays my monies to sit in a theater with sticky floors and some dude hacking up a lung because he won't give up his ciggies, then yes, I insist on being entertained.
I've tortured my gray matter enough in my life doing research and development. I simply don't want this during my down time. If someone finds enjoyment in scratching their heads wondering what the hell the story is about, then I have no problem with that. I'm just convinced that majority of movie watchers feel as I do.
For my final thought on this subject, let me relate a very true story. When my wife was in college, one of her classes included required trips museums and foreign films and such. One night, I drove her to the Wadsworth Atheneum in Hartford CT to see a required film in the basement of the museum (I believe it was Hiroshima mon amour). Getting there about an hour early, we trolled about the museum and came to a room with some "art" from one artist (whose name I never knew nor cared to). The pictures were literally white paper stock with one or two what appeared to be charcoal streaks in random strokes, mostly horizontal. There must have been two dozen of them of various sizes in simple flat black metal frames. I said to my wife (too loudly I guess) "I see Mrs. O'Leary's kindergarten class has an exhibit here".
That was the last time she asked me to go with her.
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In my opinion, 2001 is among only a handful of films that could literally be projected onto the wall of a museum, played on a neverending loop and be perfectly at home amongst the greatest works of the 20th century (regardless of artistic medium).
As for the film’s plot, I’m genuinely curious...what is it that you don’t understand/find entertaining? I honestly can’t think of any other film that is more ambitious, awe-inspiring and just straight-up gorgeous in terms of its visuals. In fact, I do my best to be first in line every time it plays in an actual theater.
As for the film’s plot, I’m genuinely curious...what is it that you don’t understand/find entertaining?
That's easy; the end. I watch this every time it's on because I love it - right up until it crashes and burns. I could cite a dozen websites dedicated to explaining or otherwise offering interpretations, but I'm sure you know most of them.
I could also get specific about what I personally don't understand, but it's been decades since I last watched the ending so let answer your question by simply quoting Arthur C. Clarke: "If anyone understands it on the first viewing, we've failed in our intention."
There it is. Boom....
Such a great, great film that was intentionally hobbled by it's own writer.
I would have been happier if the SFX were something like the Discovery being a Packard hubcap on a string and the ending logically concluded. The SFX, sets, actors, direction, etc. are both satisfying and astounding, right up to the point they're not. That's what makes this so frustrating to me. What it could have been is a sin in my opinion.
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I don’t know the websites you’re referring to, but I remember thinking the film was pretty cut and dry upon first viewing. Not cut and dry in the way that The Nutty Professor is cut and dry, but things are pretty clear if you pay attention. The black monolith affects change. It allows the person/species touching it to progress to the next evolutionary step at a much faster rate than they would have on their own.
But alright, you’re not a fan. To each their own, I guess. That said, you should still read the book. Because it’s great.
Why can't works of art that are challenging also be entertaining? They can be both, you know.
The ending isn't a failure, but a triumph. Bowman (and by extension, all of humanity) is plunged into an experience far beyond his comprehension, something far greater & overwhelming than he could ever begin or hope to understand. The viewing audience is supposed to feel that as well. Yet as the audience, we have just enough distance to understand that Bowman is undergoing an astonishing transformation because of that experience. He's making a leap as vast as the leap between that primal man-ape tossing the bone into the sky & instantly cutting to the orbiting weapon station. We can't hope to comprehend what Bowman has become & can now understand, any more than the man-ape could have understood the world of 2001. Yet there's a linking thread of growth that connects that man-ape to the ascended Bowman. And who knows how much more he will change & grow in the future?