It includes of course the master of perfectionism in every detail, which some accuse of mania or intellectualism (but as already said Schoenberg who are doing the same complaint: "I would rather call an intellectual than a fool! ). A random example, this perfect plan of the panther, that Kubrick certainly have turned countless times, until the eyes reflect the precise moment "M" sunlight on the axis the camera:
The famous monolith, which has spilled so much ink ... Is God? Or not? Or maybe a little? ( Kubrick himself has never wanted to wish interpretation very clear about this, and presumably he preferred him to leave the door open to multiple interpretations):
Anyway, this is due to the appearance of the famous monolith discovered that monkeys "technology", ie the art of using an object - not insignificant, moreover, the bone - for a purpose other than its original destination. Another example of "mania" of Kubrick : accompanying this extraordinary scene by the no less extraordinary ZARATHUSTRA of Also Sprach Richard Strauss , he managed to make the crucial moment of this "discovery" revolutionary coincides with the first modulation in F Major the theme, so to speak multiplying effect on the viewer (it will use this technique later in the final scene of BARRY LINDON , pushing it to its degree of absolute perfection):
And of course, especially across the universe there is only one step to move from Flint to the Internet, as demonstrated Kubrick the shortcut without doubt the most famous (and most awesome, it must be admitted) of the whole film history: launched into space, the bone initiating descent suddenly turns into a spaceship same apparent size on the screen:
L One of the most incredible things in this movie that still almost forty years (1968) is absolutely NOTHING has matured, whether the design of ships, travel in space and even more rare, computers (to be honest, even that of one of my favorite movies, ALIEN (1979), "Mother", is downright fun to side, with its little lights flashing in all directions). Note for the record: this computer (so dangerous he is even able to read lips!) Is named HAL , strange letters that correspond to a giant computer if they are moved up a notch in the order of the alphabet:
Even the effects Special Stage visually the most baffling film (the arrival on Jupiter) have not aged one iota, as they rely almost solely on special effects based on pools of oil, solarization, and especially an extremely clever editing and nervous ... That is genius in its purest form, there is no word to describe this magical sequence, whose impact is such that it still has eyes that flash when leaving the cinema, so that it is only five minutes of this two-hour film Twenty:
To conclude with the two most confusing scenes of the film, those discouraged from the start even the most avid viewers, scenes "beyond the universe," and therefore, according to a logic Einsteinian , obey the same laws over time. Here's why the cosmonaut is seen at the same time, adult, old man, then a fetus, the famous "astral fetus" which gave its title to an entire book devoted to this film ( Jean-Paul Dumont and Jean Monod , Christian Bourgeois editor, very difficult, because very oriented semiology as was fashionable at the time, but just as exciting as the first above-mentioned). You can even see these final scenes as a "Last Supper" itself (as suggested by the amazing site The Space Odyssey Explained ), with all the symbolism implicit in the long shots of glass breaking, while wine remains (the container - the body - disappears, while the content - the spirit - remains forever). This also ties in themes rarely addressed in film, and for good reason: the absence of temporality, and parallel universes coexisting structural analogy between the infinitely small and the infinitely large:
short, I am ER-REUX! Two and a half hours of pure happiness visual, musical and intellectual, it's not every day that it is entitled to the movies! More than two hours to extract the files, compress them to jpeg, upload to the site, write the text (you see, it's less sloppy than usual, you amaze me, there, lol !)... Briefly, a total of close to five hours in the space shuttle, a real journey without leaving home!
Kubrick also recognized that most of cinéates cared very little about the form, no attempt almost never out of the usual narrative structure. And it is true that apart Cronenberg, Lynch and Tarentino, although there are few examples of innovative attempts in this area (but it is a young art, compared to music : it is therefore perhaps just let time take its course, before actual future Beethoven, Berlioz , Liszt or Schoenberg film) ...
latest example of modernity: the film begins with three "real" minutes of black screen, accompanied only by REQUIEM of Ligeti, a phenomenon that recurs later exactly the same as 1:24 ' (pause), we imagine the "flip" in a real cinema! And the best criterion of modernity is that those six minutes are always systematically (and brutally, we must call things by their name) of the rare cut during TV broadcasts of this film, except ARTE, needless specify ... A film that is still scared nearly forty years after its release, and many Me, I say (as Schumann towards Chopin ): "Hats off, gentlemen. A genius!".
Some (good) links to learn more: three descriptions and analysis of excavated enough SF Story on DvdClassik and Objective cinema, and a fourth site quite surprising (The Space Odyssey Explained ), which we summarized in the cartoon four major parts of the film, with brief explanations that can be found harmless at first, but in fact often sound quite fair and link trails interesting, especially as regards the evolution of man, tool and technology (plus a good selection of languages to the key, including the Japanese).
If I could make you want, even if only one person to move urgently to rent or buy this absolute masterpiece ... well, here is the whole justification for the time spent on my little machine girl (think I'll have to give it a name, one of these days ...). Looool!
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