Stanley Kubrick's 2001: A Space Odyssey

2001: A Space Odyssey is, perhaps, one of the single most revered films in cinematic history. Directed by Stanley Kubrick and based on the writings of Arthur C. Clarke – the film is a heady think piece on human existence and the search for purpose and meaning to the world. Told through three different time spanning segments, we witness the evolution of man and the ultimate grapple with the question of who created us. Hidden in this film though, lies deep political, social, and sexual themes that lead to Kubrick’s final message to humanity. The film begins with the monolith, that onyx slab that appears seemingly out of nowhere, standing menacing, almost God-like amongst prehistoric man. It announces itself with a huge, booming, angelic siren

Technology itself is constantly shown as nothing more than a very serious threat to humanity, yet it also would appear that Kubrick sees this threat as beautiful. The first moments of the film that are set in space feature a long and drawn out scene that move along without the use of dialogue and are completely plot-less. In this sequence, Kubrick uses music to basically allow for the great feats of technology to dance before us. When first viewed, this sequence, depicting the various satellites and spaceships and set to Johann Strauss’s ‘The Blue Danube’, may seem long and unnecessary. These moments though are a crucial moment to the very soul of the film as it offers the viewer an intimate peak inside the mind of Kubrick all while giving us hints about his vision of the future. Kubrick’s use of music and movement is also intended to show these great, technical advancements dancing, which is the best example of the state of being that technology, created by humans has achieved. The time for attacking others with crude and primitive weapons is now gone, as we now see what humanity is capable of

The film places the audience firmly in the place of Bowman as he passes into the most direct meeting presented with the “creators”. The experience easily represents a climb into a higher level of understanding and consciousness. Bowman literally evolves right in front of our eyes. Bowman arrives in an eighteenth-century looking space. He begins to progressively go through the aging process in the room until he essentially is reborn. We see what we are to believe is Bowman, an unborn child floating in space while looking down on planet Earth. The “creators” have instilled in Bowman more than just technology. They have instilled in him the complete and perfect sense of their