2001: A Space Odyssey (re-release) (1968, Stanley Kubrick)
Is the narrative of this film really an odyssey? I can’t claim to have read Homer’s epic, but I’m pretty sure Odysseus is trying to get home. 2001, on the other hand, is surely about mankind moving forward, not coming back. I realise I’m hitting high-level pedantry early doors, but if Kubrick is going to set himself up as some paragon of filmmaking – a kind of Star-Child of cinema – we should judge him accordingly. And I fear the title makes little sense (as well as being painfully pretentious).
2001 really is staggeringly self-indulgent – shots and scenes are dragged out to agonizing, inordinate length. You end up passing the time by scanning the images to see if they will reveal some fascinating detail, some hitherto hidden depth. Spoiler: they don’t.
“Oh, you don’t understand! Kubrick is telling his story in a bold and unique way. He’s challenging conventional modes of cinema.” Yeah, maybe. And maybe he’s just got his head up his arse. And before you suggest I can’t handle a slow pace – trust me, I can handle slow; I like Ozu. The difference between the two auteurs is old Yasujirō is interested in those funny creatures whose quirks and foibles appear to be anathema to Kubrick. You know, human beings.
The film certainly is bold in its storytelling and not just in its attempt to give an account of human evolution as brought about by some kind of extraterrestrial science experiment. (Pauline Kael called this, “…probably the most gloriously redundant plot of all time.”) Critics rarely seem to comment on the fact that there are two distinct plot elements, and with no initially apparent thematic link. Indeed, the middle act of 2001 – where AI in the form of chatty computer HAL turns malevolent – is almost like a different film. It actually has a dramatic core for a start. Those viewers used to ‘conventional storytelling’ might find it a bit jarring to have one story start, stop before the end, then another story to play out, followed by a return to the first story. Confused? You will be if you manage to stay awake. According to Paul Duncan in his book on Kubrick, there may be a narrative justification for this – the struggle between humans and HAL rhyming with the clash between ape tribes in the film’s opening, or something. But if you only realise that afterwards, or have to be told, it suggests the story isn’t working terribly well.
Regularly found on ‘greatest of all time’ lists, to this viewer 2001 doesn’t measure up to the other usual suspects: Vertigo, Citizen Kane, Tokyo Story etc. Yes, it’s a seminal piece of special effects cinema; but coming first and being influential doesn’t automatically make you a masterpiece. I wonder if a lot of the folk who praise it so highly saw it when it came out and haven’t got over the initial thrill and rush of overpraise.
This film is very sixties. As well as the Pan Am sponsorship, it comes on like you’ll be fascinated by every detail of imagined commercial space travel. We get it, Stanley – they’d have to eat. Congratulations, you’re a fucking genius.
2001: A Space Odyssey is definitely different and you can’t imagine it being made today (although Interstellar had a pretty good stab at matching its tedium levels). It also stays with you. I think I could sit through it again…but I’d probably need some Kendal Mint Cake.
The emperor may not be completely naked; but at best he’s wearing some sparkly underpants.
‘Going Steady’, Pauline Kael (1994, Marion Boyars)
‘The Pocket Essential: Stanley Kubrick’, Paul Duncan (1999, Pocket Essentials)