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Tag Archive: 2001: A Space Odyssey


Review by C.J. Bunce

A giant new photographic essay of the space program reads like a behind the scenes account of the greatest production ever attempted.  And it might be just that.  Space Utopia: A Journey Through the History of Space Exploration from the Apollo and Sputnik Programmes to the Next Mission to Mars is the result of a decade of collaboration between photographer Vincent Fournier and the world’s most important space and research centers.  Fournier worked with researchers at NASA, the European Space Agency, the Russian Space agency, the European Southern Observatory, and other locations to identify those intriguing parts of earthbound facilities, historical locations, and physical objects that have gone to space and back, seen through an artist’s eye.  From space suits and environmental suits to spaceships, satellites, Soyuz trainers, ballistic missiles, and rovers, to training facilities and environments, to experimental items used on the International Space Station and flown to the moon, Space Utopia is a one-of-a-kind look at the history of the space program in pictures.

Through his photographs Fournier is attempting to explore humankind’s myths and fantasies about the future.  According to Fournier, “My aesthetic, philosophical and recreational fascination for the space adventure undoubtedly comes from the pictures and books I saw and read in the 1970s and ’80s —  movies, television series, science fiction novels, documentaries and news reports — that have mixed and superimposed in my memory like a palimpsest…. Space explorations emblematic locations are like cinema sets where Tintin might meet with Jules Verne in Stanley Kubrick’s 2001: A Space Odyssey…”

THE SPACE PROJECT – Fournier’s Space Shuttle Discovery Nose Landing Gear, J.F.K. Space Center [NASA], Florida, U.S.A., 2011 (from theravestijngallery.com)

Has the future already happened or does something more lie ahead?  Some images are stunning and colorful in their brilliance–high-tech concepts at their finest.  Others are stark and haunting, like posed space suits from Buzz Aldrin and Gus Grissom.  Space shuttles frozen in their retirement like the dismantled Discovery and immovable Independence, and the Atlantis standing majestically poised for its final flight all appear as ghostly, solemn relics, while the futuristic sound chambers. the dexterous robotic humanoid Robonaut 2, and Virgin Galactic’s Spaceport America evoke an optimistic future ahead.
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Review by C.J. Bunce

How can a movie get better on repeated viewings?  What makes that possible?  After three viewings of the home release of Rogue One: A Star Wars Story–the Digital HD edition, the Blu-ray, and the 3D Blu-ray–it’s apparent the film on repeated viewings is indeed as good as the initial theatrical viewing if not better, a rare feat in any genre.  Naysayers who didn’t like the CGI effects of Grand Moff Tarkin and Princess Leia–the primary criticism of the December theatrical release–should find even a home theater big screen television will mask any distractions seen on a 30-foot theater screen.  The Blu-ray and 3D Blu-ray provide the best, clearest picture and sound of any prior Star Wars release.  The 3D transfer is as good as any 3D Blu-ray release to-date, and the special effects, clothing details like stitches and seams are clear and vivid, as is the weathering (or lack thereof, when logical) on props.  As with most 3D movies, outdoor scenes, like the Scarif ground battle, are even more vivid with sharp foregrounds and backgrounds.  Check out the complete review of the film from December here.

The special features disc includes a version of the bonus features viewable together as an entire documentary and also viewable by chapter.  The extra disc available through Target stores only includes two short extra chapters, and although the creature shop feature is excellent the two extras wouldn’t normally be enough to tilt a buyer toward the Target edition–costs being the same–and some may instead opt for packaging, like Steelbook boxes (Best Buy only) or Connexions cards (available only in the Wal-Mart edition).  Fun bits in the features to look for include Bodhi actor Riz Ahmed’s audition tapes for Edwards, a feature documenting many Easter eggs from the show even the best eye likely never identified, and interviews with motion capture actors Guy Henry (Grand Moff Tarkin) and Ingvild Daila (Princess Leia), both who look little like Peter Cushing or Carrie Fisher, proving that simply using lookalikes or prosthetics would not have been a realistic option for re-creating these characters.  The standard bonus features included with the bundles are K-2SO: The Droid, Baze & Chirrut: Guardians of the Whills, Bodhi & Saw: The Pilot & the Revolutionary, The Empire, Visions of Hope: The Look of Rogue One, The Princess & the Governor, Epilogue: The Story Continues, and Rogue Connections (the Easter eggs list).

Rogue One easily merits ranking as the third best film in the series after Star Wars: A New Hope and The Empire Strikes Back–but truly in a league with those two films.  One of the best war movie stories put to film, the best prequel or prequel that is also a sequel (yes, even considering the great Godfather II), the best space battle, the best use of spaceship filming (director Gareth Edwards avoids 2001: A Space Odyssey and Star Trek: The Motion Picture-era overly-long ship takes and instead uses his imagery only as necessary to drive the story forward), while featuring one of the all-time best heist movies.

It really has it all.

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Iconic scenes 2001 A Space Odyssey

If you love 2001: A Space Odyssey or Stanley Kubrick, just walk away now.  More than any other science fiction movie it stops me in my tracks.  Every five years or so I re-watch it, thinking, like tomatoes, I may finally bite right in and say “tasty!”  The movie is absolutely a treat for the eyes in much the same way as Star Trek: The Motion Picture.  These are great looking movies.  But when it comes to storytelling?  Ask fans of the film, those with a critical eye, and no two will describe what the film is about in the same way.  Yet 2001: A Space Odyssey is often on lists of the best movies of all time, lists made by clever people who know good movies.

Only after reading the Cliff’s Notes version of 2001 (the film, not the book) do I understand what Kubrick was going for.  I’m still left scratching my head.  The dialogue is flat like the lines in the Star Wars prequels.  Kubrick admitted he wanted the viewer to have his/her own understanding of the film.  That’s “the point”.  Hey–if you’re a fan of ambiguity it’s the film for you.  If you tried making a movie like it today you’d end up with something like Punch-Drunk Love or the remake of Tinker, Tailor, Soldier, Spy.  Slow, boring, long, dull.  Most of the film is just banal.  But the star baby!  The black monolith!  So he takes a film and overlays it with well-known classical music and juxtaposes some cryptic symbolic imagery.  Just because someone hasn’t done it doesn’t mean it’s groundbreaking.  If I want cool images and great music sans linear story, I’ll take Powaqqatsi.

2001 huh black monolith

Maybe it’s because I like excitement in my science fiction, not this documentary-style filmmaking.  For that give me a NASA IMAX movie and educate me along the way.  Give me Star Wars or Star Trek II.  Has anyone ever referred to 2001 as exciting?  Great looking films minus a big story to back it up may be why I shy away from mainstream science fiction movies, the kind that get nominated for film awards like Gravity or Interstellar. 

So why is it on the American Film Institute list of best science fiction films at #1 and on the Library of Congress National Film Registry?

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Waltz and Thewlis in The Zero Theorem

The director of Monty Python and the Holy Grail, Time Bandits, Brazil, The Fisher King, Twelve Monkeys, and The Imaginarium of Doctor Parnassus has a new film coming soon to a theater near you.  Terry Gilliam’s The Zero Theorem stars two-time Oscar winner Christoph Waltz, that incredible actor who dazzled in the two Quentin Tarentino films Inglourious Basterds and Django Unchained.  He plays a very, very strange computer hacker named Qohen Leth who is attempting to use science to explain human existence, but keeps getting interrupted.  If you checked out the borg.com recommended reading Numbercruncher reviewed here last month, this off-the-hook film may be right for you.

The first trailer for The Zero Theorem swept like wildfire across Twitter and Facebook in the past two days.  Like many of Gilliam’s prior screen works, or even a Tarentino film, this movie oozes with the bizarre.

zero theorem

Other selling points are the fine British genre thespians David Thewlis, who played our favorite Hogwarts mentor Professor Lupin, and Ben Whishaw, star of The Hour and the new Q in the last two James Bond films.  Oh, yeah–and Matt Damon plays the “Management.”

Here’s the newly released trailer for The Zero Theorem:

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Room 237 biking

More so than Stanley Kubrick’s A Clockwork Orange, 2001: A Space Odyssey, or The Shining, writer/director Rodney Ascher’s documentary Room 237 seeks and finds the heart of obsession and insanity.

But that’s not necessarily a good thing.

Documentaries often feature thought-provoking, intelligent, smart people with some appropriate credentials espousing new theories.  You will likely walk away from Room 237 thinking your own descriptive words about the participants in the film.  These may include:  Eccentrics.  Crackpots.   Batshit crazy.  Although the film gives these participants ample opportunity to prove their theories, and despite some obvious effort on their part, no rational person would likely use these words to describe them by film’s end:  Geniuses.  Visionaries.  Lucid.

The title Room 237 comes from the numbered hotel room in the Kubrick film adaptation of Stephen King’s The Shining, where a lot of the terrifying horror plot is centered.  (King reportedly hated Kubrick’s adaptation of his book).  The documentary is predominantly the voices of five fanatics who have watched The Shining far too many times for their own good, who we never actually see in the film.  The voices are carried over clips of a variety of Kubrick movies that serve to attempt to prove the theories being discussed.  Room 237 was acclaimed by a number of critics and was named an official selection at the 2012 Sundance Film Festival and nominated for several other awards.

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EUROPA-REPORT-Poster

We’ve previewed the first trailer for Matt Damon’s science fiction film, Elysium, earlier this year.  Writer/director Neill Blomkamp offers his next entry in the science fiction as social commentary vein following his very successful District 9, one of the few films ever nominated for an Academy Award for Best Picture.  This second trailer for Elysium reveals a far more layered and interesting film than that shown in the first preview, however, it suffers from the problem on the other side of the spectrum:  It just reveals too much.  It’s possible the marketing folks think they need to show more to get people interested and into the theaters, but you wish there was a better, middle ground to be found.  Still, it looks great.

Check out the second trailer released for Elysium:

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Syfy Channel Book of Sci-Fi cover

Review by C.J. Bunce

If you think you’ve watched all the science fiction movies worth watching, odds are there’s something out there you’ve missed.  You’ve probably seen the modern blockbusters from Star Wars to Terminator and maybe the older classics, like The Day the Earth Stood Still (the original) and Forbidden Planet, and every sci-fi flick that has landed in theaters since your eyes first opened to the amazing genre as a kid.  But are you sure you’ve seen everything?

The Syfy Channel has teamed up with Universe Publishing to release a giant book of 100 years of sci-fi movies and TV, from A Trip to the Moon to Hugo, in The Science Fiction Universe… and Beyond: Syfy Channel Book of Sci-Fi And although the Syfy Channel continues to look outside the boundaries of Syfy for new TV dramas and reality series, this 256-page, full-color, coffee table hardcover is out to remind everyone why we like the Syfy Channel in the first place.  And better yet, when you’ve run out of the obvious to watch on TV or stream on Netflix, you can use the book as a guide to catch up on the obscure and the overlooked.

RoboCop with Ronny Cox

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100 Film Warner Bros banner

Not long ago the idea of having all your favorite movies available for viewing instantly was as far out there as hover cars.  With streaming options like Netflix you can have access to thousands of movies and TV series in a flash, only limited by the speed and quality of your own home access and viewing technology.  But just like online news will never replace the physical daily newspaper, streaming will never replace the home video library.

Back in early December we previewed here at borg.com four movie collections as gift ideas of varying price ranges, from the three-film The Dark Knight Trilogy from Warner Bros. to the eight-film Tarantino XX 8-Film Collection from Lionsgate Miramax to the 15-film Alfred Hitchcock: The Masterpiece Collection from Universal Studios to the massive 22-film Bond 50: The Complete 22 Film Collection from MGM.

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Review by C.J. Bunce

Ridley Scott suggests a “sequel to the prequel” is a possibility in the feature material to the October 9, 2012 release of his is-it-or-isn’t-it-a-prequel to Alien blockbuster Prometheus on Blu-Ray, 3D, and DVD.  The trailer to the video release gets it just right–there are so many unanswered questions left in this summer’s big-budget blockbuster, sci-fi release that you may think you’re watching 2001: A Space Odyssey.  What was this Dr. Manhattan-looking being in the distant past and in our distant future eating that dissolved him into the ocean?  How does that being relate to the rather squiggly creature that emerged in one of the movie’s key scenes?  Why didn’t Scott just come out and call this a prequel?  Surprise, people!  It’s a prequel!  It’s actually really good at being a prequel, because unlike other prequel movies, it doesn’t re-hash every bit of the original film or films.

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By C.J. Bunce

Outer space looks so peaceful and tranquil from the images we have received over the years from NASA astronauts.  Yet the reality of space is that it is an unforgiving place, and impossible to survive in without adequate protective gear.  Without a space suit you would lose consciousness within seconds because there is no oxygen.  Blood boils and then freezes because of the lack of air pressure.  Extreme changes in temperature would kill you one way or the other:  In sunlight temperatures reach 248 degrees Fahrenheit and in shade temperatures drop to -148 Fahrenheit.  And you’d be exposed to radiation.  Basically, no spacesuit… and you’re done for.

Above is an image of the actual space suits used by American astronauts in the 1960s and 1970s.  I grew up with stories from my dad about being on one of the recovery ships for John Glenn’s (first!) historic space flight.  I was fortunate to have worked with a NASA spacesuit on display at the National Air and Space Museum at the Smithsonian Institution on the Moon Landing’s 20th anniversary, and witnessed the three Apollo 11 astronauts speaking of their journey.  Since then I have met two other men who went to the moon.  On the one hand they are just people like everyone else.  On the other, they all realize they have done something incredible.

Harrison H. Schmitt, the 12th and last man to walk on the moon, at book launch with Elizabeth C. Bunce and C.J. Bunce.

I’ve also been lucky enough to see in person not only the several space capsules in Washington, DC, but something I never thought I’d see when I was a kid–Gus Grissom’s Liberty Bell 7 capsule, cleaned up after being found at the bottom of the Atlantic resulting from his controversial flight.  Real life space travel carries a special kind of magic, and to try to match it, Hollywood has its work cut out for it.

Gus Grissom’s restored Liberty Bell 7 module, now at the Kansas Cosmosphere and Space Center.

More than a century of science fiction has recognized the need for some travel suit or the other for space travelers of the future.  As reflected in science fiction films, costumers in Hollywood have adapted to the cutting edge science of the day to perfect the look and feel of the future for their science fiction fan audience.  But it wasn’t until the space race that the modern real space suit look was established as the standard, when costumers realized that realistic travel in space required pressurized suits, including what is obvious today, components like gloves and airtight helmets.

Whether film producers are making TV series or movies, space suits end up as a large chunk of the production budget.  Looking right costs money.  Leading the way in the future of dress in outer space was the original Star Trek series and subsequent Star Trek series.  But because of budget constraints there was a surprising lack of actual space suits on each of these series.  Even though the cast of Star Trek: The Next Generation referred to their shipwear as “space suits” on a daily basis on set, that’s not the type of gear we’re discussing here.  A chronicle of those types of suits would fill a book, from Star Trek to Babylon 5 to all the other science fiction TV series made by the Syfy Network alone.  Those typically form-fitting and more military styled suits were a much cheaper way to make a TV series that could survive financially.  Likewise, we’ll save for another day space pilot suits, like Luke Skywalker’s X-Wing fighter flight suit from Star Wars and Apollo’s Viper flight suit from Battlestar Galactica.  But even Star Trek was able to spend budget dollars on space “outer wear” over the years from time to time.

The following is a look at the change of the design of the space suit in film over the years.  Literally thousands of artists’ renderings of space suits can be found in countless covers to pulp novels, comic books, and other works, too.  Many of them influenced or mirrored the designs below, and ultimately the costume designers rarely stray from reflecting the forward looking vision of their time. Note: Please send us your updates, new images and old, suits we missed and those published since this article was written, care of editor@borg.com.

In the 1902’s A Trip to the Moon, probably the first real science fiction film, they didn’t even bother with a space suit, just the explorer’s formal dress of the day.

The dawn of sci-fi serials arrived.  In the 1950s serial Captain Video, the heroes wore basically modified football helmets and contemporary air force gear.

But Captain Video also had more futuristic garb.

In 1950’s Destination Moon, we see the first of the color-coded space walkers, a concept used as recently as in Star Trek 2009.

In 1950’s Space Patrol we begin to see a costuming theme–the multiple cuff rolls–an element that makes it to the Star Trek movies in the form of the radiological suits.

In 1951, serious science fiction comes of age with The Day the Earth Stood Still, and with it we get a peak at not what Earthlings might wear in space, but what the aliens already there wear.

In Cat-Women of the Moon (1953) we see more of the rolled armwear that would become typical of 1950s TV and film, and the glass globe found in many lesser sci-fi works.

More cuff rolls! With the comedy Have Rocket Will Travel (1959) the Three Stooges enter the Space Age.

Throughout the span of the series, The Twilight Zone featured several episodes focusing on astronauts, and made the best of a small budget, including these costumes in the episode Elegy…

… and Little People, again with the football helmet.

In 1961, no “costume” was necessary as Earth witnessed the first astronaut donning a space suit in outer space, with Yuri Gagarin’s epic flightas the first human in space.

In 1965 Lost in Space not only featured John Williams’ first sci-fi soundtrack, but cutting edge, cool space stories and characters filled the TV screen, including Dr. John Robinson’s space suit.

The TV series The Outer Limits offered up various versions of spacesuits in the early 1960s, but no performance in-suit was as memorable as that of William Shatner in the episode “Cold Hands, Warm Heart,” a realistic space suit like those worn by real astronauts.

In the 1970s one of my favorite comedic actors was Jerry Lewis. Being a kid I laughed at everything he did, and I remember not quite understanding more of the risque bits of his 1966 film with Connie Stevens about bringing both sexes together in space: Way, Way Out. It also makes me think this was the start of me thinking all space suits should be made of aluminum fabric.

My love of the silver space suits, of course, may also be because of the Mercury program space suits…

… and of the great astronaut G.I. Joe.

In 1966 the original Star Trek arrived. I’m not sure if it is truly a space suit or more of protective wear, but here is Spock sporting full gear in the episode The Naked Time.

1967 saw the first of the James Bond films addressing outer space with You Only Live Twice, with Russians in space.

In the bawdy comedy In Like Flint, James Coburn ends up in space with a silver suit… and good company

The typical bumbling Don Knotts role was even more fun in space, as seen in 1967’s The Reluctant Astronaut.

In 1968 Star Trek got real space suits instead of velour shirts, as seen here worn by the Enterprise crew in the classic episode The Tholian Web.

Upping the ante, Stanley Kubrick spared no expense to create multiple space suit variants for 2001: A Space Odyssey in 1968. Here we have that color-coding concept again.

Here is David’s red-orange suit close-up.

And the yellow version of the suit.

And 1960s camp participated in the Space Race as well, as seen in 1968’s Barbarella.

But it didn’t stay on long.

In the same year, Charlton Heston & Co. soar off in space gear to a very familar planet in The Planet of the Apes.

Tons of Doctor Who shows featured often bizarre space travel outfits.  One Doctor Who special had its own take on the space suit, here in the 1968 film Doctor Who and the Wheel in Space.  (Watch out for those Cybermen!)

In 1971, Earthlings saw Heston’s character leave in a rocket and apes return in Escape from the Planet of the Apes.

Strange goings-on for Sean Connery’s James Bond in 1971’s Diamonds are Forever.

As a big John Carpenter fan, I was surprised his early film Dark Star was so hard to watch. And he used very odd space suits.

In 1975, Space: 1999 had Martin Landau and even women astronauts in these great, orange suits, similar to the Star Wars X-Wing pilot suits filmed around the same time.

I’ve heard that NASA loaned real space suits to The Six Million Dollar Man series for at least one episode. I wouldn’t be surprised, as they look perfect.

Here Jenny Agutter is shown guest starring on an episode of The Six Million Dollar Man in a great suit.

In 1977 Capricorn One showed us what conspiracy theorists thought all along, that even the real astronauts were wearing costumes. Waterston, Brolin, and Simpson.

Strangely enough there are not a lot of space suits used in the Star Wars series since, like Star Trek, they didn’t have pressurization or other environmental concerns with their vehicles. One standout is an astronaut hanging at the Mos Eisley spaceport cantina. This photo is actually from the Superbowl ad from this year, creatures created by Tom Spina Design.

The original cantina guy in space suit.

Between 1978 and 1982, Mork & Mindy catapulted Robin Williams career. He arrived in a space suit complete with strange helmet. The series had access to the Star Trek archives and was able to use original series costumes and props.

In this episode of Mork & Mindy, Mindy’s dad wears a space suit consisting of the Star Trek original series Tholian Web space helmet mismatched with The Naked Time protective suit!

Come back tomorrow and we will continue with part 2–42 more uses of space suits in TV and movies, from 1979 to today.