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In Reply to: IMDB trivia for "2001" (extremely long) posted by rico on August 31, 2005 at 12:03:50:
It never fails to amaze me that so many film devotees just do not "get it" when it comes to 2001. It was, at once, a quintessential 60's film and a monument for the ages. It's thematic scope is sweeping and profound. It asks, more eloquently than any film ever made, "What are we?", "Where did we come from?", and "Where are we going?", and peers into the darkest depths of the space and the farthest reaches of time like a searchlight looking for a clue to the mustery of consciousness and existence. It is also on of the most consumate executions of the craft of film-making in history. It is a masterpiece, and my nomineee for the greatest film ever made. I can think of no other film in which all the elements of the cinematic art were so skillfully and ambitiusly marshalled.I was deeply saddened by Stanley the Great's passing. AI, a film which tantalizingly seemed to offer us the opportunity to see Kubrick's mastery and imagination applied again to the keys and pedals of that great pipe organ of science fiction, unfortunately unded up in the hands of a much less capable director.
Thanks for the delectible details and trivia.
Follow Ups:
I totally agree with your comments and "2001..." is my favorite film, along with "Apocalypse Now Redux" and "Citizen Kane".
Citizen Kane, I think, would make anyone's list of all-time greats. It don't think it's quite as amibitious intellectually as "2001", or some of Kubrick's other great films. It might well be the most important of the "modern" films from a directorial standpoint, with its highly original lighting and camera work, and its revolutionary editing.Coppola's Apocolyse Now I would consider a more controversial choice -- mainly because it is such an uneven film. There are dazzlingly brilliant sequences, and then sequences that are considerably less than brilliant. The USO sequence comes to mind, and the intimate scenes between a few of the riverboat's crew and the girls also seems like an unneccesary diversion, and not particular well-integrated into the film. Coppola seems to meander at times, not sure where he is really heading. Yet, it shares with 2001 a sense of great intellectual ambition and almost heroic zeal to come to terms with the ultimate truth, however inscrutable it may be. Of course, the Wagnarian helicopter attack, with the copters looking like Beelzebub's infernal swarm of flies coming over the horizon is one of the greatest sequences of all time, and one of the most consumately realized cinematic visions ever put on film.
Kane, to it's credit, has a marvelously straight-forward, economical narrative structure (as does 2001) from which Welles develops a wonderful character study and a parable about what the business of one's life -- anyone's life -- should be. I think the great irony of CK is that here was a man who accomplished almost everything a man could, and yet, whose life was ultimately wasted. The tragedy, so subtly insinuated in the film, was that the poor bastard never had a chance.
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