2001 A Space Odyssey Movie Analysis

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Stanley Kubrick’s masterpiece 2001: A Space Odyssey is a tour de force of filmmaking, and unquestionably, one of the all-time best science fiction films ever made. Kubrick takes the audiences from the dawn of mankind to the farthest region of outer space, he skillfully orchestrates every scene for us to ponder on, to question, to fathom, with meticulous and yet, casual detail that explodes visually upon our senses by the sheer scope of imagery. Critics and audiences, past and present, considered this to be one of Kubrick best films, and without a doubt, it is one of the most mind-binding film ever created. There is no other film quite like this and no film has come close to its grandeur in cinematography and wonderment of our very existence.

The film begins during the Pleistocene age, roughly two million years ago, when the Earth was experiencing a heavy drought, when all the mammals and man-apes were in a constant
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An original, commissioned musical score was abandon entirely, when during the editing process, the temporary classical music of Johann Strauss, György Ligeti, Aram Khachaturian, and Richard Strauss, sounded better. “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” (Ebert 2).

In essence, 2001 is about humankind’s destiny in the universe and the next stage of human evolution among the stars. The premises involves the first contact with an extraterrestrial monolith, but this is only the symbol for some advance alien race who never show themselves, leaving behind several black monoliths in key locations in our solar system (Moon and the orbit of Jupiter) as a calling card, an invitation, an alarm, and gateway to another realm across space and time. But the actual aliens themselves never make an appearance in the film or do

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