By Lara Trace (sci-fi lover)
My wonderful cousin Dr. Charlie Bland is a
movie expert. Charlie (aka Afraid of His Horses) teaches movie history (college level) and analyzes all genres and loves films! (I love many too, of course. I’m still hooked on all things Star Trek. That Gene Roddenberry was a total genius-visionary, right? And I am a X-Files/Chris Carter fan , too. Lately quantum physics/mystics documentaries occupy my free hours.)
In Seattle, I met a Face Reader, a Sikh, who told me that the public is/was often given important messages/urgent warnings via movies. I didn’t forget that. It’s important. How are hidden warnings given now? (You Tube? Hollywood? Netflix? Sitcoms?)
Here is Charle’s recent suggestion:
While we were discussing Interstellar, my friend Sumit and I suggested that you also watch 2001: A Space Odyssey (1968), a magnificent film which you in a younger generation might not have seen or heard of. This is to reinforce that suggestion, if you truly liked Interstellar, you will love 2001. You can rent it from Netflix (or buy it or ask your library to get it.)
The Director, Stanley Kubrick (1928-1999) was known as a great director of the 20th Century, but made only a relative handful of films. 2001 is ranked #6 on the Sight and Sound Magazine list of ALL-TIME great films. Kubrick, much more than the director of Interstellar limited exposition about science and like all the great directors, relied on the visual image you see to convey the drama and beauty of the science that unfolded. His 1968 film was visionary in many ways, including IPads, Skype, Voice print Identification, evidence of a wormhole in science fiction and above all, Artificial Intelligence that grows and challenges man’s wisdom. A major characteristic of all Kubrick’s films was his personal misanthropy toward mankind.
He thought mankind was ridiculous and doomed to self-annihilation. In his Dr. Strangelove, (1963) the film ends with a cowboy riding an atomic bomb to its destination which sets off a worldwide nuclear holocaust. You can detect Kubrick’s misanthropy visually in the clip below when the two tribes of antecedents to humanity jump up and down and wave their arms at each other and in the explicit knowledge that without external God like intervention, we would have been doomed from the start. This is reinforced by the religious tone of the music, most importantly the “Atmosphere’s” of Gyorgy Ligeti (1923-2006) whose music permeates the film. But the major theme is conveyed in Richard Strauss, “Thus Spake Zarathustra”, a tone poem to Frederick Nietzsche’s classic book by the same title that articulates the idea of the Overman who transitions from primitive to God-like attributes.
2001 unfolds in three stages: Dawn of Man; the Jupiter Mission; and The Stargate/Infinity. The Dawn of Man sequence below runs for 9.5 minutes , Especially Important is the scene that begins at 2:25, when our antecedents wake to find in their midst an object they could not possibly have created themselves. It is a Monolith, one of three that guide the “Odyssey” throughout the film. The music accompanying the scene is Ligeti’s “Il Kyrie” which suggests the awe and wonder with which our antecedents greet this object. If you are interested, I attach an orchestral presentation of the same music which enables you to see the vocal and instrumental interaction that creates this beautiful music. The second scene begins at 5:35 as our antecedent, desperate and starving, turns his eye to the Monolith. His facial gestures suggest to me that this is the first prayer, and lo, the Monolith responds in a way that for Kubrick, underlines just how hopeless we all are. The accompanying music is Richard Strauss, “Thus Spake Zarathustra.” Enjoy.
BIG THOUGHT: Anthony Peake, in his new book Immortal Mind, points to scientific studies that shows consciousness survives brain death, and suggests that it does not and cannot die. Sounds profoundly good to me! Visit AnthonyPeake.com.