2001: A Space Odyssey is a 1968 science fiction film about a mysterious black monolith and the effects it has on man throughout the ages.
If you’re reading this review with hopes to get my thoughts of what I think the Monolith represents, I’m sorry but you won’t find it here. In fact, there is very little I can say about this masterpiece that hasn’t already been said before, the special effects, the music, the visuals, everything is still top notch, and the Monolith just as ambiguous. Director Stanley Kubrick changed the cinematic landscape with this one and while many have come close, none have been able to surpass 2001: A Space Odyssey for it influence. And believe it not not, it time for it’s 50th Anniversary.
Director Christopher Nolan (Interstellar, Dunkirk) helped supervise this re-release in glorious 70mm presentation. This is no easy task since most cinemas have already converted to digital projectors, but it’s important to understand why showing 2001 this way is so significant. For those who don’t know, before the digital revolution, most movies were either shot on 16mm, 35mm, or 70mm. It’s what made movies classic.
So what do the number mean? Well, essentially, the higher up the number went, the better the resolution of the picture. For a long time, this was the industry standard format used for features in wide aspect ratio. When movies began showing on TV, they had to be reformatted from 2.35:1 to 4:3 because that is how many sets looked like before flat screen’s hit the market. Today, most movies that you see on standard cable and even networks like HBO, Showtime, etc., are shown in the 1.85:1 aspect ratio. Even if a movie was presented in a higher aspect ratio in theaters, it will be formatted down to fit your screen, just like it was back when tube sets were around.
If you have ever watched a moment or just saw a still image of 2001: A Space Odyssey, you can see how massive in scope and scale the movie truly is. You can have the best TV with the best sound and come nowhere close to how it is in theaters. So let me tell you, when you walk into the auditorium – selections from the film’s soundtrack being played, no ad spots for Pepsi or the latest app for your smart phone – you’re just sitting inside your little space pod waiting for the movie to begin, and in this format, for me, it felt like the monolith was speaking directly to me. When the curtain opens, there’s another sensational five minutes of background music before the iconic theme of Richard Strauss‘ Also sprach Zarathustra echoes through the place. Sitting in that dark room, and seeing that opening shot of the planets with that iconic score should be a very spiritual moment for any real fan of the movies. It was for me.
The fact that 2001 was being shown in 70mm really makes a difference because it means nothing was added or changed at all. There is no color correction or any digital alteration. Everything that was put onto film when Kubrick first made it is again right up there on the big screen. A lot of times, many filmmakers go back to change the movies they made because the technology wasn’t there before like it is now, and I respect that choice as long as they use this tech to help enhance the visuals rather than take it over. Knowing that all of the effects of 2001: A Space Odyssey were actually filmed on camera and presented that way again, it was like having Kubrick there, screening it just for me. It also made the movie a bit more personal because projectors have to be hands-on when screening this. They have to be on top of their game to know when to switch reels.
If you get the chance to see this, I highly recommend it. Film may not be as pristine or as clean as digital projections but it feels organic, like it’s a living creature. It has a few flaws but that’s what makes it work. I’m hoping next for the 50th Anniversary of Star Wars, one where get to see the original cut without any extra effects. If you want more thoughts on 2001: A Space Odyssey, check out this episode of our Cinema Recall Podcast.