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50 Years after its release and 17
after its imagined future,
Stanley Kubrick's 2001: A Space Odyssey
remains a masterwork that stunningly
doesn't feel dated at all.
Meanwhile, its famously enigmatic ending
is as mysterious as ever.
What's key about this ending is
it's not like other confusing movie endings
where we're left to debate whether option A
or option B is the correct answer to
"what really happened?" --
you know, like "is the character dreaming, or not,
right, or wrong, dead or alive,
really doing these things
or just imagining it all.
No, here Kubrick is experimenting with
a new kind of ending altogether.
It's not just ambiguous;
it's impressionistic.
2001's ending is intended to evoke --
images, sounds, memories, suggestions, associations,
all of which which seek to produce a response in us,
mental and emotional.
Its primary purpose is to open up, not resolve;
to inspire questions instead of answering them.
In multiple interviews, Kubrick not only
avoided clarifying the ending,
but also spoken about how it wasn't meant
to be clear in a conventional sense.
He told Eye Magazine,
"I think that the power of the ending
is based on the subconscious emotional reaction
of the audience, which has a delayed effect...
to be specific about what it's supposed to mean,
spoils people's pleasure and denies them
their own emotional reactions."
He also said to Joseph Gelmis,
"If the film stirs the emotions and penetrates
the subconscious of the viewer,
if it stimulates, however inchoately,
his mythological and religious yearnings and impulses,
then it has succeeded."
So basically if anyone walks away from 2001
with a very simple answer for what just happened,
that viewer may not be experiencing the ending
as deeply as Kubrick wanted us to.
So all of that said, what do we see
literally happened at the end?
From what we gather, advanced aliens have been
contacting humankind through monoliths
to help them develop advanced technology
and a better understanding of the universe.
The first monolith inspires prehistoric apes
to invent the first tool --
which is a weapon for killing.
And this is essentially the moment when the apes
become humankind as we know it --
so there's the idea that our intelligence
may have been developed through
an outside mysterious force contacting us.
Then far in the future, around the year 2001,
the US government finds a monolith buried under
the surface on the moon.
This monolith is sending signals to Jupiter.
So the US sends a mission to Jupiter,
but the on board the spaceship, the computer Hal
turns on the humans and kills most of the crew.
"Open the pod bay doors, Hal."
"I'm sorry, Dave.
I'm afraid I can't do that."
Dave Bowman manages to disconnect Hal.
But by the time they reach Jupiter,
He's the only man alive.
He passes through a stargate of sorts.
And here's Kubrick's own literal explanation
of what we see after this, quote:
"He is taken into another dimension of time and space,
into the presence of godlike entities
who have transcended matter and who are now
creatures of pure energy.
They provide an environment for him,
a human zoo, if you like.
They study him.
His life passes before him.
He sees himself age in what seems just a matter of moments,
he dies, and he's reborn, transfigured,
enhanced, a superbeing."
Finally, we see a starchild heading back toward earth
and we get the sense that, perhaps,
humankind has entered a new era
of more intelligent existence.
So now let's dig into some of the many interpretations
that have been applied to this evocative final sequence.
2001 can be read as a film about God.
Kubrick told Eye Magazine that, quote,
"The god concept is at the heart of 2001,
but not any traditional, anthropomorphic image of god.
I don't believe in any of Earth's monotheistic religions,
but I do believe that one can construct
an intriguing scientific definition of god."
According to Kubrick, these aliens in the film
would seem to us like gods,
because they are so advanced in their evolution
that we couldn't possibly understand them.
Kubrick has described them as, quote,
"beings of pure energy and spirit.
He said their potentialities would be limitless
and their intelligence ungraspable by humans.
These beings would be gods to the billions
of less advanced races in the universe,
just as man would appear a god to an ant.
They would be incomprehensible to us except as gods..."
Kubrick's "scientific" God-aliens who study us
and educate us via the monolith are hardly
the warm, fuzzy conception of God
that many of us have been taught
to simply love and obey.
Kubrick's God figure is impenetrable --
we can't really grasp anything of its nature,
let alone its motives.
As the aliens study Bowman, he becomes an old man,
symbolically embodying the aging of all humankind.
The elderly Bowman accidentally knocks over
a glass of wine.
Some have interpreted that in this moment,
the glass represents the human body, which will die,
while the wine represents the human spirit,
which can continue to live on outside of the body.
This scene is immediately followed by
a dying Bowman lying in bed.
He reaches towards the fourth black monolith
we see in the film.
This shot mimics Michelangelo's painting
"The Creation of Adam," part of the Sistine Chapel,
where Adam reaches out his hand toward God's.
The visual comparison makes Bowman the original human,
and the monolith a representation of God.
After Bowman's human form dies,
or the glass breaks,
his spirit, the wine, is reborn
as the enlightened Star Child.
What's happened to Bowman in these rooms near the end
is a kind of enlightenment.
Critics have noted that the French 18th century
neoclassical decor recalls the Age of Enlightenment.
So Kubrick's version of god --
these mysterious aliens pushing mankind to progress --
seem to have as their goal, humankind's enlightenment.
This Star Child is even a god-like or Christ-like figure itself
compared to the humans on earth --
This child is presumably being sent to earth
to impart some newfound wisdom to the people
and carry them toward the next step
in their evolution.
And put in those terms, this might remind us
a little of Jesus Christ.
Kubrick was strongly influenced by Nietzsche.
He opens and closes this film with Richard Strauss's
Thus Spake Zarathustra,
named after the Nietzsche work of the same name.
This text centers of the concept
of the Übermensch, or superman.
It argues that the child is the last stage
of evolution before the Übermensch.
So it's meaningful that Strauss' music comes back in
just as we see the starchild
moving back toward Earth --
as something more evolved than man,
maybe a precursor to the superman.
We see four Monoliths in the film,
and Rolling Stone's Bob McClay points out
that every monolith represents a stage
in our evolution.
The first learning device turns the apes into humans;
the second on the moon sends a signal
to alert this alien intelligence
that man has now sufficiently evolved
to find the monolith there --
so Earthbound humans have become space travelers,
even creators of their own sophisticated machines.
But before humankind can reach the next stage of evolution,
Bowman has to unplug Hal.
"Daisy, Daisy, give me your answer, do."
So mankind aborts this experiment
of becoming the creator.
Man kills its monstrous offspring
and instead progresses on
to another stage of evolution,
following this higher intelligence-slash-god.
This is a very interesting plot point
if we think about it in terms of today's fears
of AI becoming so intelligent, one day
it'll take over the world.
"I'm always happy when surrounded by smart people,
who also happens to be rich and powerful.
I was told that people here at the Future Investment Initiative
are interested in future initiatives,
which means AI, which means me.
Back in 1968, Kubrick imagines that turning point
when computers are starting to become smarter than man.
But the story says no --
our destiny isn't just to stagnate
and let our machines dominate us.
Our destiny is in a different direction,
because we humans aren't finished in our evolution.
So the third monolith near Jupiter is a kind of portal,
that ushers humanity into a stage
of reflection and examination,
communing closely with these mysterious greater beings.
Then the fourth monolith appears near Bowman's deathbed
just before he's reborn as the star child
that surpasses our current consciousness.
When the film came out,
Kubrick told the The New York Times:
"Somebody said man is the missing link
between primitive apes and civilized human beings.
We are semicivilized, capable of cooperation and affection,
but needing some sort of transfiguration
into a higher form of life.
Man is really in a very unstable condition."
That's such an interesting thought because we talk
a lot about how we evolved into our current state,
and we think about the future state
of our lifestyle or planet.
but we don't always think much about how we ourselves
might continue evolve in the future.
The starchild's identity and form is unknown,
as mysterious to us as we are now,
as the human identity was to the apes.
Thus the end of this film with this image of the star child
feels surprisingly, incredibly optimistic.
The image symbolizes mankind's potential
to spiritually remake ourselves as something more.
The final shot also affirms the theme of eternal recurrence
in the film -- another Nietzschean concept
the idea that everything repeats over and over.
In 2001, moments from the different stages
of evolution mirror each other
to show how little has changed in some ways over time.
Then, at the end, sending the starchild back to earth
after Bowman left earth for this long space odyssey
represents the ultimate return.
Scholars have also written about how closely the film
echoes the story of Homer's epic The Odyssey.
Of course, "Odyssey" is right there in the title.
Leonard F. Wheat has noted Dave's last name "Bowman"
could allude to Odysseus' skill as an archer.
Many have also noticed that the single red eye of Hal
brings to mind the Cyclops.
The Odyssey is the story of Odysseus'
voyage home to Ithaka.
Bowman's journey seems to be an adventure
into the new and unknown --
but because it ends in his rebirth
as this higher form of consciousness
going back to earth,
perhaps Kubrick is implying this is a homecoming --
that it's a journey toward becoming more ourselves,
what we were always meant to be.
Up until the ending sequence of 2001,
the story isn't the most conventionally told narrative,
but it is logical and causal,
straightforward enough to follow.
Then the film's final sequence is confusing,
abstract and symbolic.
This shift in the storytelling technique
signals the entering of a dimension
that is beyond Dave's and our comprehension.
That's why the last line of dialogue in the film is
"Its origin and purpose still a total mystery."
We can't fathom the intelligence or purpose of these aliens,
and thus in the final sequence we can only process
certain imagery and respond to it
in our personal, intuitive way.
Kubrick himself said, "2001 is a nonverbal experience;
out of two hours and 19 minutes of film,
there are only a little less than 40 minutes of dialogue.
I tried to create a visual experience,
one that bypasses verbalized pigeonholing
and directly penetrates the subconscious
with an emotional and philosophic content.
I intended the film to be
an intensely subjective experience
that reaches the viewer at an inner level
of consciousness, just as music does."
So from these words we can gather
that it's not so important to "get" the ending
in the traditional way.
In Kubrick's view, any interpretation of the ending
is supplemental to the experience of it.
So if 2001: A Space Odyssey has confused you
but also emotionally or mentally affected you,
then it's done its job.
Before we go, there's also a lot to say about
how the ending reflects on a major theme of the film --
technology and its link to violence,
and how the monolith fits into all that --
but we kind of need a whole other video
to do that theme justice.
So stay tuned.
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