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Features
Actors: Keir Dullea, Gary Lockwood, William Sylvester, Daniel Richter, Alan Gifford
Directors: Stanley Kubrick
Format: AC-3, Closed-captioned, Color, Dolby, Dubbed, DVD-Video, Original recording remastered, Special Edition, Subtitled, Widescreen, NTSC
Language: English, Russian
Subtitles: English, Spanish, French
Region: Region 1 (U.S. and Canada only. Read more about DVD formats.)
Aspect Ratio: 2.20:1
Number of discs: 2
Rating:
Studio: Warner Home Video
DVD Release Date: October 23, 2007
Run Time: 148 minutes
Average Customer Review:
(916 customer reviews)
Reader Reviews
This review is from: 2001 - A Space Odyssey (VHS Tape)
Regardless of how "bored" some (probably adolescent) viewers may become (forced to maintain their attention span over vast minutes of time on something other than sex, car chases and dripping blood), this is obviously a great movie. At least for the rest of us. Rated in the top 250 (#66) at IMDb, and the subject of innumerable articles and reviews, Stanley Kubrick's much studied and admired visual, artistic and thematic masterpiece, based on the short story "The Sentinel" by Arthur C. Clarke, is still--remarkably, after all these years--a mesmerizing motion picture experience even on a television screen. This is no mean accomplishment when you realize that Kubrick made his film before humans actually walked on the moon in 1969, and furthermore, when you consider how much more we now know about space travel and how much more advanced special effects have become. What I think contemporary movie makers might learn from Kubrick's work is (1) special effects without rhyme or reason may titillate first time viewers and the very young, but quickly grow meaningless; and (2) even in a movie that relies heavily upon special effects and ideas--which 2001: A Space Odyssey certainly does--it helps a whole lot to have a story to tell. The story begins in the prehistory and ends in the future. It begins with a pre-human consciousness and ends in mystery. (Note that the last sequence in the movie is labeled in part as being "beyond the infinite"--whatever that metaphysical notion may mean.) Along the way we have a creditable hero (Astronaut Dave Bowman played by Keir Dullea, whom I also recall from David and Lisa, 1962) and a very cold and merciless villain (HAL 9000, the computer as megalomaniac--apparently his makers never heard of Issac Asimov's rules for robots!). Today we know more about pre-humans and more about computers, artificial intelligence and space exploration, and with such knowledge today's movie makers would avoid some of Kubrick's mistakes. For example, the space craft was far too roomy (ask the astronauts!). Real space ships must be as small as possible to save fuel and they are incredibly cramped. Also, the year 2001 has come and passed, and we are nowhere near the practical capability of providing "artificial" gravity in space. And of course computers (or robots) don't have emotions unless such emotions are built or programmed into them. Yet the visual sense of space and the terrible isolation of being alone in the vast vacuum has never been conveyed so well. Using music synchronized with visual effects laden with meaning for our earth-bound minds and bodies, Kubrick managed to depict the Pythagorean "music of the spheres" in a most splendiferous and awe-inspiring way. However, the opening sequence with the hairy apes is probably what Kubrick would most like to redo if he had the opportunity. In the first place, the terrain, which is semi-arid, is all wrong. No hairy, long-armed, bent-legged creature would occupy such a landscape. The "foraging" they were supposed to be doing was ludicrous since there was obviously next to nothing to forage. The tapirs (forest-dwelling animals native to South America and Southeast Asia, by the way, and not to the savannas of Africa, which should have been the terrain depicted) were almost comedically fat for the ecosystem. And the apes themselves, looking and acting a lot like chimpanzees (no doubt the model that Kubrick used), are in conflict with the fossil record as we know it. Our primordial ancestors, the australopithecines, were upright walking apes and probably not exceedingly hairy since they needed to sweat as they walked and ran over the savannas and grasslands of East Africa. As for using bones as weapons, yes, there can be little doubt that that is what our ancestors learned to do, followed by using hard wood and stones and then shaped stones. And the idea that a bone tool is a proto-type for all the tools to come is also correct, most saliently in the form of the space ship and HAL. An interpretation of the ending would necessarily include the idea of time as being something other than we think it is. We see Dave as an astronaut in his thirties, and then as a middle-aged man dining in something like a very expensive Parisian apartment, and then on his death bed, and finally as a soon-to-be-born fetus returning to earth. I think it was wise of Kubrick not to attempt to explain what he clearly points to as unexplainable, as "beyond the infinite." Perhaps the most haunting image of all, at least for me, is the red and yellow "eye" of the HAL 9000 computer as it coldly viewed the two astronauts talking. Therein was expressed, long before it became fashionable, the coming inexorable conflict between us and our machines, between our culture and our biological nature, between natural and artificial intelligence. Never in the history of cinema has that tension been so concisely conveyed as in that scene and in this movie. See this for Stanley Kubrick, one of the greatest film makers of all time.
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2001 - A Space Odyssey (Two-Disc Special Edition)
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Available from Amazon Price: $11.49 Updated on 10-29-2008.

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