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“2001: a Space Odyssey”: The Eye-Opening Beauty of Powerful Cinema
Introduction
It is a sin to write this. Mr. Stanley Kubrick told me so:
2001 is a nonverbal experience; out of two hours and 19 minutes of film, there are only a little less than 40 minutes of dialog. I tried to create a visual experience, one that bypasses verbalized pigeonholing and directly penetrates the subconscious with an emotional and philosophic content.1
-Stanley Kubrick
Kubrick’s film 2001: A Space Odyssey certainly bypasses verbalized pigeonholing, but that doesn’t mean the film defies explanation and discussion. The present piece will analyze how Kubrick succeeds at the rather lofty goal of creating this “visual experience” by looking at three key cinematic components that Kubrick uses to tell this story. First, we’ll look at aural components like dialogue, music, and soundtrack. Then, we’ll delve into the visual components like special effects and cinematography. Finally, we’ll deal with thematic components, focusing on Kubrick’s use of archetypes. Together, these components produce a rare beauty: a pure expression of cinema and the power that it has to inspire the imagination.
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“Captain Underpants – The First Epic Movie” Embraces Anti-Authority Silliness
George and Harold are two fourth graders with a penchant for potty humor, hanging out in their treehouse, and creating their own comic books. The cream of their crop is Captain Underpants, a broad knock-off of Superman, right down to his exoplanetary origin story, bizarre mishmash of superpowers, and proclivity for dressing in – you guessed it – underpants. George and Harold are just a little more to-the-point with their superhero.
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“The Dark Horse” Addresses Mental Health, Expectation, and Community
The opening sequence of The Dark Horse depicts Genesis Potini wandering through the rain muttering to himself, intercut with his older brother teaching him the game of chess when they were both children. He stops in a store with a few chessboards set up, and continues his frantic word salad as the shop owners look on nervously. Then, Genesis starts moving the pieces with a preternatural celerity, waxing poetic chess theory, comparing the relative qualities of the Sicilian defense and the Scotch game. The preamble continues until Genesis is discovered by his handler and whisked back to the mental hospital. The title flashes across the screen, and we understand the fundamental themes of The Dark Horse immediately: dealing with mental health, the importance of family and community, and the transformative power of the game of Chess.
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“Cars 3” a By-The-Numbers Lap around the Same Track
Pixar is renowned for original storytelling in the realm of animation. Often, the stories spun by these visionaries wonderfully meld style and substance together in a way that please both children and adults. And while the Cars franchise started off in this same vein, the sequel was a clear sub-par cash-grab. It’s easy to see why: merchandise from Cars was one of Disney’s biggest cash cows. You got keep that cow fat, so Cars 3 is the product. The plot, characters, and themes are familiar: anthropomorphic cars trying to win races to prove that they can still win races, with themes of obsolescence, expectation, following dreams, and believing in people (or, in this case, cars). Cars 3 is all of this and exactly nothing else, another lap around the track.
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“Pawn Sacrifice”: Bobby Fischer’s Pyrrhic World Chess Championship
The name “Bobby Fischer” is synonymous with high-level chess, even decades after the Brooklyn-born grandmaster won his World Chess Championship match against the reigning champion from the Soviet Union, Boris Spasskey. Staged during the height of the Cold War, the match was seen by both sides as an opportunity to prove intellectual superiority. Pawn Sacrifice dramatizes this iconic battle-of-wits, but also delves into the psychological effects of obsession, dedication, and the heavy burden of worldwide expectation– even on the strongest of minds.
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“Rough Night” Packs Comedy, Filth, and the Macabre into a Bachelorette
Lucia Aniello’s Rough Night is what happens when you let five raucous friends cut loose during a destination bachelorette party in Miami. All the normal accoutrements are here: beachfront rental property, alcohol-fueled bar crawls, penis-shaped everythings, cocaine, a shredded male stripper, and involuntary manslaughter. Hmm, maybe things got out of hand somewhere . . .
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“It Comes at Night” Is an Expression of Pure Pessimistic Horror
Consistency of tone is essential for a successful psychological horror story. In It Comes at Night, writer-director Trey Edward Shultz establishes an unyielding bleakness that completely permeates the entirety of his post-apocalyptic story. The constant pressure of this mood grows and oppresses the viewer, like an emotional constrictor squeezing all hope and joy from the proceedings. In short: It Comes at Night is not a fun or pleasant viewing experience, and it is clear from the opening shot that this is not a world where things turn out well. Its dogged pursuit of desolation is not mere pessimism – it’s an exploration of human fear, mistrust, and desperation.
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“My Cousin Rachel” – a Period Romantic Mystery with Gorgeous Visuals
Roger Michell’s adaptation of the Daphne du Maurier novel My Cousin Rachel peddles in interesting camera work, astonishing visuals, and solid performances, but lacks a thorough command of tone. The film feels obsessed with the ambiguity of its central romantic mystery, while at the same time laying on the cinematic clues with an unbelievably heavy hand. There’s fascinating technique in the expression of the mystery and the characters involved in it, but the execution misses often enough to infuse the film with an uneven mood. This makes it hard to understand when to take the ambiguity seriously and when to embrace the apparent obviousness of it all.
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“The Mummy” Something Something Stupid “Wrapped” Pun
There’s an off-hand moment early on in The Mummy when Egyptologist Jenny Halsey (Annabelle Wallis) draws attention to the importance of the discovery that she and Nick Mortion (Tom Cruise) have made by referring to the age of the sarcophagus: 5,000 years. Trouble is, Wallis clearly mouths “three”, not “five”. Oh well, ADR happens. Maybe there was a re-write where they realized that 3,000 years wasn’t enough for the Egyptian period they wanted. So they fixed it. That’s fine, if a bit distracting. Later, Tom Cruise calls “the chick” 3,000 years old. They left that one in. Maybe Tom Cruise is too busy to do ADR. Maybe no one caught it. Maybe no one cares.
Ladies and gentleman, this is The Mummy in a nutshell: falling over its own presumed intelligence, never paying enough attention to what it is doing for it to matter.
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CSFF 2017: Hillsborough
Film Criticism and Fiction Writing by Derek Jacobs
