Word: spacing
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Dates: during 1960-1969
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...medical world; of unspecified causes related to the accident; in Moscow. At the time the fourth Russian to win a Nobel prize in physics (for his theories on :he behavior of matter at low temperatures), "Dau" also helped his country develop nuclear weapons and contributed to the Soviet space program. In 1962, his car plowed into a truck, leaving him with such severe injuries that he was in a coma for 57 days and clinically dead on four occasions. Eventually he recovered enough to say, "I can talk to friends, but I do not have the courage to resume other...
...FILM about progress--physical, social, and technological--Stanley Kubrick's huge and provocative 2001: A Space Odyssey remains essentially linear until its extraordinary ending. In the final transfiguration, director Kubrick and co-author Arthur Clarke (Childhood's End) suggest that evolutionary progress may in face be cyclical, perhaps in the shape of a helix formation. Man progresses to a certain point in evolution, then begins again from scratch on a higher level. Much of 2001's conceptual originality derives from its being both anti-Christian and anti-evolutionary in its theme of man's progress controlled by an ambiguous extra...
Although some sequences are gone, most of the cutting consists of shortening lengthy shots which dwelled on slow and difficult operation of space-age machinery. Kubrick probably regrets his current job of attempting to satisfy future audiences: the trimming of two sequences involving the mechanics of entering and controlling "space pods," one-man space ships launched from the larger craft, may emphasize plot action but only at the expense of the eerie and important continuity of technology that dominates most of the film. 2001 is, among other things, a slow-paced intricate stab at creating an aesthetic from natural...
...Astronaut Poole's (Gary Lockwood) pod scene is shot identically to the preceding pod scene with Astronaut Bowman (Keir Dullea), stressing standardized operational method by duplicating camera setups. This laborious preparation may appear initially repetitive until Poole's computer-controlled pod turns on him and murders him in space, thus justifying the prior duplication by undercutting it with a terrifyingly different conclusion. Throughout 2001, Kubrick suggests a constantly shifting balance between man and his tools, a dimension which largely vanishes from this particular scene in cutting the first half and making the murder more abrupt dramatically than any other single...
Even compromised in order to placate audiences, Kubrick's handling of the visual relationship between time and space is more than impressive. He has discovered that slow movement (of space crafts, for example) is as impressive on a Cinerama screen as fast movement (the famous Cinerama roller-coaster approach), also that properly timed sequences of slow movement actually appear more real--sometimes even faster--than equally long long sequences of fast motion shots. No film in history achieves the degree of three-dimensional depth maintained consistently in 2001 (and climaxed rhapsodically in a shot of a pulsating stellar galaxy); Kubrick...