I really enjoyed Richard’s post about 2001: A Space Odyssey, and it got me to thinking about one of my favorite movies. (It also is a movie that you really haven’t seen unless you’ve seen it on a big screen.) I think it could be reasonably argued that 2001 is one of the most influential movies of the last 50 years, for at least two reasons.
First, 2001 ushered in the golden age of movie special effects. Before 2001, movie special effects were little used and were pretty much confined to Ray Harryhausen pictures or stop-motion effects. 2001 was a quantum leap ahead. Whether it was the classic space station docking scene, or the weightless pen grabbed by the stewardess on the space shuttle, or the astronauts jogging in a seemingly endless and weightless circle, or the giant fetus floating in Jupiter orbit, the special effects on the movie just blew people away. 2001 seemed to destroy all of the barriers and preconceived notions about what could be depicted, visually, on the big screen. Thereafter, special effects became hugely important parts of movies — some might argue too important. In any case, films like The Matrix, The Abyss, The Fifth Element, Blade Runner, Star Wars, Jaws, and countless others owe a great debt of gratitude to 2001.
Second, 2001 seemed to be one of the first movies to fully integrate music and on-screen action. If you watch movies from the ’50s and before — at least, movies that weren’t musicals — the soundtracks typically are muted, background music, where strings might play in a particularly sappy scene. In the late ’60s, however, soundtracks began to assume a more prominent role. In 2001, the soundtrack music really played a crucial role. Everyone remembers The Blue Danube Waltz and the space station docking scene because it was a perfect marriage of sight and sound. But the scene where the apes discover that a bone can be used as a weapon as Also Sprach Zarathustra rises to a crescendo, or the creepy “eeeeeeeeeeee” music that is heard during some of the suspenseful scenes, or the sad music that plays as the space ship takes its lonely voyage to Jupiter, are equally stunning and effective uses of music. Now, the use of music to specifically convey messages and advance storylines is so commonplace that it has invaded TV as well as cinema. On House, for instance, it is not unusual for the final scene to involve no dialogue, but only a carefully chosen song that plays as the show cuts from character to character as they deal with the events of the preceding hour.
2001 is a masterpiece, and it shows that Stanley Kubrick was a genius.