The concept of Kubrick, Bowman or the viewer as a higher intellectual force is not necessarily an egotistic one. He has become the director of the film he is in and therefore is his own God. All this may well be communicating that having travelled outside the cinema frame and then back in, Bowman can now control the film content, including its musical score. Possibly related to this may be the mixed up and out of tune piano chords of the renaissance room, which are followed by an ensuing silence before Bowman's re-entry into the monolith and sudden repeat of the films opening theme. In both shots he is looking back over his right shoulder and both shots feature the same camera angle. The actor Keir Dullea, who plays Bowman, is seen in character at a computer console in one shot and out of character playing a keyboard in the other shot. Two production photos in particular seem to support this. Something else interesting is that if Bowman does indeed become his own film director then this would also give him control of the film's musical score. The position Bowman was stood in during the first of the three photos is virtually the same position that he walked to in the film before a sudden jump cut to him entering the bathroom. It's as if he has just stepped out of himself and met his own director. Then in the third photo he is sat down, but Kubrick is now standing in the position he just walked from. Next he is turning as if about to sit down. In the first shot Bowman is looking at the camera as if acknowledging us.
The dimensions of the photo are also monolith shaped.As a further clue of the characters becoming their own Gods let's take a second look at the following production photos. Poole is sat staring at Stanley, who is leaning sideways as if saying “rotate me 90 degrees like you would the monolith” and again he’s dressed in black.
Notice also that the astronauts are wearing white lab coats, which will be explored in a later chapter.It was also an interesting choice of Kubrick to feature plenty of still shots of the excavation scene considering that the characters are actually conducting a photo shoot within the film.Īnother production still offering similar God symbology hints is this one of Stanley in the artificial gravity section of the discovery. A possible implication here is that the monolith is a representation of Kubrick and that he is appearing to the astronauts as the intellectual creative force of their universe.Ī nice little pun on this idea is to think of the brick shaped monolith as a Stanley Ku”brick”. Standing in the middle of them is Kubrick himself, dressed in black with the monolith seen left screen in front of a floodlight.
Is this a fluke or a confirmation that the helmet relfection of a crew member in the excavation site was deliberate?Īn interesting production still from the excavation scene shows the astronauts stood in a semi-circle. Again a mysterious crew member is reflected in the side of the helmet.
2001 A SPACE ODYSSEY HELMET MOVIE
One of the production stills shows Poole sat in the Discovery cockpit with his helmet on, even though in the movie he isn't wearing one while sitting in the cockpit. The close up has been contrast adjusted to emphasize the crew member reflection. It’s difficult to recognise who this person is, but it has been rumoured to be Stanley. A famous continuity error is that a crew member can be seen reflected in Heywood Floyd’s helmet as he walks around the monolith on the moon. There are a variety of other production aspects implying this. Because as film maker it is he who created the fictional universe as it is depicted in 2001. 2001: A Space Odyssey - in-depth analysis - by Rob Ager 2008Ī simple progression of the monolith / cinema screen relationship is that, for the films characters, Kubrick effectively represents God.
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