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You must be a registered user to use the IMDb rating plugin. A Guide to Stanley Kubrick's Films. Top Rated Movies 87 Won 1 Oscar. Learn more More Like This. A Clockwork Orange Full Metal Jacket Lee Ermey, Vincent D'Onofrio. Peter Sellers, George C. Eyes Wide Shut Edit Cast Cast overview, first billed only: Dave Bowman Gary Lockwood Frank Poole William Sylvester Andrei Smyslov Margaret Tyzack Ralph Halvorsen Sean Sullivan Bill Michaels Douglas Rain HAL voice Frank Miller Mission Controller voice Bill Weston Poole's Father Ann Gillis Edit Storyline "" is a story of evolution.

Edit Details Official Sites: Color Technicolor Color Metrocolor. Edit Did You Know? Goofs In various scenes that take place on the moon, the earth is depicted in the background. The earth is always depicted as appearing far larger than it actually appears in reality. Even before the Apollo 8 "earth rising" pictures from December , it would have been possibly to determine the correct perspective, with relatively straight-forward mathematical calculations. Quotes [ first lines ] Aries-1B stewardess: Here you are, sir, main level please.

Instead, the newly designed corporate logo for Metro-Goldwyn-Mayer was used, along with the letters "MGM", all in white against a blue background. 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 colored paints and chemicals swirling in a pool-like device known as a cloud tank, shot in slow motion in a dark room. The coloring and negative-image effects were achieved with different color filters in the process of making duplicate negatives.

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, making the image from the scenery projector on the subject too faint to record. The exception was the eyes of the leopard in the "Dawn of Man" sequence, which glowed orange from 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. Kubrick then deleted 19 minutes of footage from the film before its subsequent roadshow release in five other U. The general release of the film in its 35mm anamorphic format took place in autumn and used either a four-track magnetic stereo soundtrack or an optical monaural soundtrack.

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: For the film's 50th anniversary, Warner Bros.

Following a showing at the Cannes Film Festival introduced by Nolan, the film had a limited worldwide release at select 70mm-equipped theatres in the summer of , [] [] followed by a one-week run in North American IMAX theaters including five locations equipped with 70mm IMAX projectors. On December 3, , an 8K Ultra-high definition television version of the film was reported to have been broadcast in select theaters and shopping mall demonstration stations in Japan. Upon release, polarized critical opinion, receiving both ecstatic praise and vehement derision, with many New York-based critics especially harsh.

Kubrick called them "dogmatically atheistic and materialistic and earthbound. Someone in San Francisco even ran right through the screen screaming: 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", [] and Stanley Kauffmann of The New Republic called it "a film that is so dull, it even dulls our interest in the technical ingenuity for the sake of which Kubrick has allowed it to become dull.

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 A Space Odyssey is now considered one of the major artistic works of the 20th century, with many critics and filmmakers considering it Kubrick's masterpiece. Director Martin Scorsese has listed it as one of his favourite films of all time. A Space Odyssey , calling him "a force of supernatural intelligence, appearing at great intervals amid high-pitched shrieks, who gives the world a violent kick up the next rung of the evolutionary ladder".

A Space Odyssey "has one of the greatest screenplays ever penned", countering accusations of the film's coldness by saying, "I recall the HAL 'death scene' as one of the few filmic moments to ever cause me to tear up in sadness. I was not alone. Any film that can both enhance one's consciousness and touch one's emotions, simultaneously, evinces greatness.

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".

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

Peter Kramer in his monograph for BFI analyzing the film summarized 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. The spectrum of diverse opinions appeared to divide the received interpretation of the film between theater audiences and critics.

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 fetus floating above the Earth will destroy it. Many of the cataclysmic interpretations of the film appeared inspired by Kubrick's direction of the Cold War film Dr.


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Strangelove just before , which resulted in dark speculation about the use of nuclear weapons orbiting the Earth in These interpretations were challenged by Clarke, who said: 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 explore 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 respects from the film, it perhaps should not be regarded as the skeleton key to unlock it. Multiple allegorical interpretations of have been proposed, including seeing it as a commentary on Friedrich Nietzsche's philosophical tract Thus Spoke Zarathustra , or as an allegory of human conception, birth and death.

Wheat sees as a multi-layered allegory, commenting simultaneously on Nietzsche, Homer, and the relationship of man to machine. Rolling Stone reviewer Bob McClay sees the film as like a four-movement symphony, its story told with "deliberate realism. 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 apes, and later 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: 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. Ebert writes in his essay on in The Great Movies:. 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 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" characterized 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 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. 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. 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: 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. Clarke wrote three sequel novels: Odyssey Two , Odyssey Three , and The Final Odyssey The only filmed sequel, Kubrick was not involved; it was directed 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 April 8, , in the Smithsonian Institution's National Air and Space Museum. The exhibit features a fully realized, full-scale reflection of the neo-classical hotel room from the film's penultimate scene.

From Wikipedia, the free encyclopedia. Please see the relevant discussion on the discussion page. Do not move the page until the discussion has reached consensus for the change and is closed. Theatrical release poster by Robert McCall. Stanley Kubrick Arthur C. Keir Dullea Gary Lockwood. United Kingdom [3] United States [3].

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Keir Dullea as Dr. David Bowman Gary Lockwood as Dr. Frank Poole William Sylvester as Dr. Ralph Halvorsen Sean Sullivan as Dr. 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: 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 A Space Odyssey soundtrack and A Space Odyssey score. Special effects in During the film's "Star Gate" 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.

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 can be compared, but personally I think that is far superior. 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. The Making of Kubrick's Castle, Alison , ed. The Stanley Kubrick Archives. Ciment, Michel []. The Lost Worlds of Science fiction and space futures — past and present. The Film Director As Superstar. A Diary of The Making of Introduction by Jay Cocks. Shuldiner, Herbert June A Space Odyssey ' ". A Space Odyssey ".

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Retrieved June 21, Retrieved December 24, Retrieved December 3, Cull February 5, Science Fiction and Popular Cinema. Odyssey of a Visionary: A Space Odyssey' Is Still the 'Ultimate Trip' - The rerelease of Stanley Kubrick's masterpiece encourages us to reflect again on where we're coming from and where we're going". The New York Times. Retrieved May 10, Archived from the original on March 28, Retrieved November 26, Archived from the original on August 16, Retrieved November 24, Archived from the original on January 6, Retrieved February 3, A Space Odyssey - Cast and Crew".

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A Space Odyssey (film) - Wikipedia

The Copernicus of Antiquity: Aristarchus of Samos Illustrated Edition. Incredible Stories from Space. How We See the Sky. The Inner Solar System. Anomaly at Fortune Lake. The Constellation Observing Atlas. Exploring the World of Astronomy. Lives of the Planets.

Mary Somerville and the World of Science. De Sitter Invariant Special Relativity. Astronomy with a Home Telescope: A Very Short Introduction. Chemistry of the Solar System. Your Place in the Universe. How to write a great review. The review must be at least 50 characters long.