All of this is in stark contrast to the momentous occurrence. For all his affability, Floyd is a politician, and in his briefing on the moon base, he will mix a chuckley familiarity to cover a steely purpose. Floyd’s evasiveness we will later learn – ‘I’m sorry, I’m simply not at liberty to say’ – is a double bluff, tacitly confirming a cover story that isn’t true. A parlor game of reading between the lines and polite probing. Rossiter’s presence enlivens this scene and marks it as a drily witty one. The meeting with the Russian delegation on their way down featuring the superb British comic actor Leonard Rossiter is the one moment that conversation risks becoming meaningful. Most communication for Floyd is either phatic or purely functional.
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The first line of the movie comes from the hostess as he lands at the space station: ‘Here you are, sir, main level please.’ Voiceprint identification is an innovation, but the phone call with his daughter is a familiar situation – dad’s away on business. Far from the glamor of the first astronauts with their ‘Right Stuff,’ we have a company man who looks like he might be as suited to Madison Avenue as NASA. By 2001, space travel has become so frequent as to be mundane. His utter indifference to the magnificent space travel underlines a point Kubrick is at pains to make. Heywood Floyd (William Sylvester) napping on the shuttle from Earth to the Moon via the partly constructed space station. Clarke and Stanley Kubrick weren’t great at writing dialogue – having read many of Clarke’s novels, dialogue is not his strong point – but I’d argue that the triteness of the dialogue is fully intended. But here I’m going to argue that this is an achievement. You could also think of it as a musical with large sections of the film featuring music that effectively narrates what we see on screen, providing an additional layer of meaning.Īnd the dialogue we get is with one exception unexceptionable.
Roger Ebert calls it effectively a silent movie. Approximately 88 minutes of the film is dialogue-free. There are no words spoken for the first 25 minutes of the film nor the last 23. And many lines, including a narration, were shaved or cut entirely. The original screenplay is only 65 pages long which is extremely short for a film that initially showed with a 161-minute running time. title in a satirical novel about how wacky universities are these days to put alongside ‘A Chomskian Reading of Sex in the City 2’ or ‘The Proustian Subtlety of Dumb and Dumber Too.’
A title like ‘Dialogue in Stanley Kubrick’s 2001’ feels like a fake Ph.D. Now there’s a good reason why we don’t talk about the talk of 2001, and that is because there isn’t much.
However, there was another element that I noticed that doesn’t get much recognition and is, dare I say, underrated: the dialogue. On its 50 th anniversary, I had the opportunity to attend a screening at the Cannes film festival, introduced by Christopher Nolan, which showed a restored 70mm print and its manifold glories were there to behold: the grandeur, the sweep, the perfect use of music, the impeccable sound and production design, the special effects that still hold up half a century later, the tension, the deep themes and the bold storytelling. Everyone thinks it’s a masterpiece and it absolutely is. 2001: A Space Odyssey falls into that category. An exploration of the dialogue in Stanley Kubrick’s masterpiece, ‘2001: A Space Odyssey.’Ĭhuck Klosterman once wrote about how we are obsessed critically with the underrated and the overrated that we rarely note the exactly correctly rated.
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