What does Yea Forums think of this kino? Whats the end mean?

What's it like to be so wrong?

I wouldn't know user you tell me

Kubrick's 10/10's include:
>Eyes Wide Shut
>The Shining
>2001
>Barry Lyndon
that's it

>What does Yea Forums think of this kino?

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. Lolita
. 2001
. Paths of Glory
. Barry Lyndon
. Eyes Wide Shut

Based Top 5.

My interpretation of the Star Child is that it represents tabula rasa, the clean slate. Signifying here that not having being brought up to think in a certain way, free of social coding so to speak, one can reach the next stage of evolution. Humans as they now are, cannot reach it and never will. Even if someone was successful in reaching the next stage and remembering where they came from, it would be impossible to teach humans back on Earth. Think of the wolf child living among wolves, learning their habits, rules. After decades, this child is now reintroduced to civilization, but is unable to grasp even the simplest things. Only here, the Earth is the wolf child and the human who left is a civil person. This is why I see the film as true cosmic horror. It is shown that the prime motivator of humans, the want to reach for the skies is all for naught. No matter how badly they wanted and tried, they would never reach the next level. Think of the picture, but humans not being able to peek through the curtain, confined in that bubble and knowing that there is more out there. Mankind robbed of their wanderlust. I think that's what the film is about.
Bowman in the room, signifies the zenith of humanity, and now the only thing left is to wither and die. Bowman growing old and reaching for the monolith, but never touching it.

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for obvious reasons, there's a lot more exposition in the book.really answers any questions you may have by the end of the movie.
anybody else here think the sequel with Roy Scheider was kind of kino?

the Star Child absolutely represents the attainment of the "next level" -- the whole film depicts the process of an unseen higher race instilling lower life-forms with intelligence to see if they will eventually advance to a space-faring civilization.

>the first monolith instills the apes with intelligence.
>the second monolith is a beacon buried on the moon that will instantly be found by a newly space-faring civilization.
>the third monolith is activated by the discovery of the second and is located halfway across the solar system
>the first being that makes it to the third monolith activiates it and is transported across the universe and transformed into what can only be described as a baby god.

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Wtf is that list
1. 2001
2. Dr. Strangelove
3. Paths of Glory
4. Barry Lyndon
5. The Shining

>Dr strangelove
>the shining
>Kubrick's best work
Opinion discarded

Fpbp

1. Shining
2. 2001
3. Eyes Wide Shut
4. The Killing
5. Clockwork Orange

Aliens have been manipulating earth's evolution for hundreds of thousands of years. We just unlocked the next game level.

2010 is a different beast from 2001 but still a really solid sci fi film.

It's a long boring music video.

You can't quote the book to explain the film. They are two separate entities

>Whats the end mean?
Dave goes into the monolith, he star travels and is taken into a human zoo by Aliens that have transcended matter, the Aliens mutate him to the star child the next step of evolution and send him back to earth.

All that according to Kubrick and Clark, and the voiceover that was deleted after the first few screenings.

Wtf is lolita and eyes wide shut next to Dr Strangelove?

monkey part was good, rest was boring

Honestly Solaris is trash and extremely pretentious

So are your opinions

That's like, your opinion man

Good summary.

>the most boring part is good

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you dumb fuck, the movie is not based on the book.

The movie was supposed to be space exploration propaganda to get the public to agree to funding of useless shit that wasnt ready to do the things they promised. Kubrick then took that and trolled all his investory by making it about media and propaganda itself. The monolith is the movie screen. The first part is us discovering film and media in a sense. The Lion or whatever and Zebra represent the big companies who own us by using the monolith to control our behavior, make us more violent and so on. The second part is when the apes are integrated in that propaganda machine. There are no aliens, that whole part is about how they make up a narrative to sell to the public. Then the hal part is about how they lie about technology and its purpose. The last part is Dave Bowman finding out he is inside a narrative. He touches the monolith, the movie screen, and he eats real food for the first time. He also sees himself and the film crew that is literally filming him. Then he is ready to start his journey into awareness and higher consciousness and is reborn as a real human bean.

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You have been visited by the Laura of not great, not terrible threads.

This thread is currently reading 35 replies (not great, not terrible).

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you should elaborate on that thought

>Whats the end mean?
The Monoliths accelerates evolution. Bowman became the star child, the next step in human evolution.

I think the ending was meant to be confusing. The whole point is that space and aliens are “unknowable.” We literally have no idea how aliens would act or look like or anything.
We are incapable of understanding that new reality, and Kubricks movie reflects that.

Tarkovsky? more like Snoozetovsky

For anyone who's interested, here's the final pages of the screenplay. (Yes, this IS the screenplay, not the novel.)

NARRATOR
For two million years, it had circled Saturn, awaiting a moment of destiny that might never come.
In its making, the moon had been shattered and around the central world, the debris of its creation orbited yet - the glory and the enigma of the solar system.
Now, the long wait was ending. On yet another world intelligence had been born and was escaping from its planetary cradle. An ancient experiment was about to reach its climax.
Those who had begun the experiment so long ago had not been men.
But when they looked out across the deeps of space, they felt awe and wonder - and loneliness.
In their explorations, they encountered life in many forms,and watched on a thousand worlds the workings of evolution.
They saw how often the first faint sparks of intelligence flickered and died in the cosmic night.
And because, in all the galaxy, they had found nothing more precious than Mind, they encouraged its dawning everywhere.
The great Dinosaurs had long since perished when their ships entered the solar system, after a voyage that had already lasted thousands of years.
They swept past the frozen outer planets, paused briefly above the deserts of dying Mars and presently looked down on Earth.
For years they studied, collected and catalogued.
When they had learned all they could, they began to modify.
They tinkered with the destiny of many species on land and in the ocean, but which of their experiments would succeed they could not know for at least a million years.
They were patient, but they were not yet immortal. There was much to do in this Universe of a hundred billion stars. So they set forth once more across the abyss, knowing that they would never come this way again.
Nor was there any need. Their wonderful machines could be trusted to do the rest.

On Earth, the glaciers came and went, while above them, the changeless Moon still carried its secret.
With a yet slower rhythm than the Polar ice, the tide of civilization ebbed and flowed across the galaxy.
Strange and beautiful and terrible empires rose and fell, and passed on their knowledge to their successors.
Earth was not forgotten, but it was one of a million silent worlds, a few of which would ever speak.
Then the first explorers of Earth, recognising the limitations of their minds and bodies, passed on their knowledge to the great machines they had created, and who now transcended them in every way.
For a few thousand years, they shared their Universe with their machine children; then, realizing that it was folly to linger when their task was done, they passed into history without regret.
Not one of them ever looked through his own eyes upon the planet Earth again.
But even the age of the Machine Entities passed swiftly. In their ceaseless experimenting, they had learned to store knowledge in the structure of space itself, and to preserve their thoughts for eternity in frozen lattices of light. They could become creatures of radiation, free at last from the tyranny of matter.
Now, they were Lords of the galaxy, and beyond the reach of time.
They could rove at will among the stars, and sink like a subtle mist through the very interstices of space.
But despite their God-like powers, they still watched over the experiments their ancestors had started so many generations ago.

The companion of Saturn knew nothing of this, as it orbited in its no man's land between Mimas and the outer edge of rings.
It had only to remember and wait, and to look forever Sunward with its strange senses.
For many weeks, it had watched the approaching ship. Its long-dead makers had prepared it for many things and this was one of them. And it recognised what was climbing starward from the Sun.
If it had been alive, it would have felt excitement, but such an emotion was irrelevant to its great powers.
Even if the ship had passed it by,it would not have known the slightest trace of disappointment.
It had waited four million years; it was prepared to wait for eternity.
Presently, it felt the gentle touch of radiations, trying to probe its secrets.
Now, the ship was in orbit and it began to speak, with prime numbers from one to eleven, over and over again.
Soon, these gave way to more complex signals at many frequencies, ultra-violet, infra-red, X-rays.
The machine made no reply. It had nothing to say.
Then it saw the first robot probe, which descended and hovered above the chasm.
Then, it dropped into darkness.
The great machine knew that this tiny scout was reporting back to its parent; but it was too simple,too primative a device to detect the forces that were gathering round it now.
Then the pod came, carrying life. The great machine searched its memories.
The logic circuits made their decision when the pod had fallen beyond the last faint glow of the reflected Saturnian light.
In a moment of time, too short to be measured, space turned and twisted upon itself.

okay, but that's pretty much the book.

Exactly
So fuck anybody who tries to push the differences between the movie and the novel as being substantive.

How is changing into a giant foetus inside an egg in orbit around space becoming a superman?

“I’ve tried to avoid doing this ever since the picture came out. When you just say the ideas they sound foolish, whereas if they’re dramatized one feels it, but I’ll try.

The idea was supposed to be that he is taken in by god-like entities, creatures of pure energy and intelligence with no shape or form. They put him in what I suppose you could describe as a human zoo to study him, and his whole life passes from that point on in that room. And he has no sense of time. It just seems to happen as it does in the film.

They choose this room, which is a very inaccurate replica of French architecture (deliberately so, inaccurate) because one was suggesting that they had some idea of something that he might think was pretty, but wasn’t quite sure. Just as we’re not quite sure what do in zoos with animals to try to give them what they think is their natural environment.Anyway, when they get finished with him, as happens in so many myths of all cultures in the world, he is transformed into some kind of super being and sent back to Earth, transformed and made some kind of superman. We have to only guess what happens when he goes back. It is the pattern of a great deal of mythology, and that is what we were trying to suggest.” - Stanley Kubrick, 1980

Unironically the most overrated movie in history of cinema

Kubrick intentionally got rid of all this narration expressly because he wanted to make the meaning of the film more ambiguous. All this narration was favoured by Clarke who pretty much stopped having any input in the film by 1966. The novel and books differences are big specifically because of this. Try again.

see

August 29th, 1997
>Fuck God
>Make way for the Antichrist

Bump for my favorite Kubrickkino

That's fine, I know Kubrick had explained the ending literally but I was hoping that you'd not take the book at face value or read the deleted script, and read into the film as it is. Makes for a more enjoyable experience and, even though Kubrick gives the story as it happened, the film IS intentionally ambiguous so coming up with other ideas always make 2001 discussion better.

I don't give a fuck what you'd hoped.
Don't tell other people what to think again.

Elaborate

Lol I literally did the opposite you fucking sperg

your preference for how to experience a movie is irrelevant to anyone who isn't you.

You're the one trying to give absolute explanations to an intentionally ambiguous film.

the book and the movie have the same plot, end of story

The book and the movie only have the same plot if you add the book's plot onto what you've already seen

the movie has the same plot without the plot being spelled out for you
the same things happen in both versions

>Implying barry lydnon is anything above a 7
yikes
I'll correct you
1.Clockwork Orange
2.2001
3.The Shining
4.FMJ
5.Ptahs of Glory

What type of autismo from beyond the stars can't grasp the idea of people reaching their own conclusions about an artpiece and not only those spelled to them?

you can reach any conclusions you want.
just don't try telling people the movie and the book aren't related, because it's a lie.