The soundtrack is rather MEH to me, simply because it IS recycled classical music instead of an original composition, severe lack of effort, there.
Arthur C. Clarke, an atheist? WAHEY! GOOD FOR HIM! (fuck those religious retards)
The Monolith was aliens, specifically the Europa aliens, who made Man in their image, not your stupid God.
Someone had to run the ship, the frozen people were strictly scientists and mission specialists only, not familiar with Discovery's systems.
I like that weird ending with Dave in the room as an old man eating a meal, makes me hungry. I feel sad when he spills the wine.
That jump cut IS the greatest in movie history! I mean, a flying bone, only just used to commit the first murder among the proto-humans that will evolve into us, immediately becoming an orbital weapons platform in space - GENIUS! And it sums up in two shots Man's history of murdering his fellow man!
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Adam60z (3750)
a year ago
So the only thing man is good for is murder? Even Kubrick realized that's a no good theme, hence didn't make clear the satellite was a weapon. I think athiests are more narrowminded than fundamentalists: the belief of nonbelief is worse than warped belief. Hence atheists create their own Gods: from Kim to Mao to Stalin. So you (and Clarke who was also Gay and lived in Sri Lanka) think aliens came here with a monolith because God and/or evolution doesn't work. Brilliant!
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christomacin (4545)
8 months ago
"The soundtrack is rather MEH to me, simply because it IS recycled classical music instead of an original composition, severe lack of effort, there."
Several pieces by Ligeti used on the soundtrack were cutting edge pieces only written within as little as three short years before the film was released - hardly 19th century "warhorses" (i.e. overplayed, overfamiliar pieces). The use of such then ultramodernist music was unprecedented in a major studio film. It's worth noting that the Adagio from Gayane by Khachaturian was also composed fairly recently (circa 1968) in the early 1940s. The fanfare from Also Sprach Zarathustra by R. Strauss was also much less well-known prior to 2001's release, so it was probably new to many listeners at the time. It's easy to forget that. Really, only the Blue Danube by J. Strauss was truly well-known prior to the film's release.
2001's soundtrack was a trend-setter that later influenced William Friedkin's brilliant soundtrack choices for The Exorcist. In the cases of both films, the "cobbled together" soundtracks were better than the ones by Alex North and Lalo Schifrin written for those films. Besides, it's not a director's job to act as an employment agency for film composers living in Los Angeles. They are free to use whatever music they think will work best and are willing to pay a license for. I think Kubrick was more than vindicated in his music choices in this and his later films. Since Kubrick and Friedkin both selected and spotted the music for themselves, that would mean they both expended MORE personal effort than less compared to the average director, surely?
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