MovieChat Forums > 2001: A Space Odyssey (1968) Discussion > Could you anyone please answer a couple ...

Could you anyone please answer a couple of questions?


I think Frank died by HAL remotely maneuvering the pod over him, severing the air hose.
If I'm right, if HAL can control pods, why HAL simply didn't maneuver Dave's pod away from the ship?

And what happened to the first monolith on earth?
Is it waiting to be found or we simply don't know?


I am he as you are he as you are me and we are all together.

reply

I think Frank died by HAL remotely maneuvering the pod over him, severing the air hose.
If I'm right, if HAL can control pods, why HAL simply didn't maneuver Dave's pod away from the ship?


As I see it, pod control could be switched between local and remote; when Frank was piloting the pod he was controlling it in local mode; when he went EVA, he switched the pod control to remote, handing it over to HAL.

And what happened to the first monolith on earth?


The film leaves this (and much more) open to individual interpretation; as I see it, once it had fulfilled its purpose it just vanished, as misteriously as it had appeared.

reply

I think the monolith on Earth is probably buried by millions of years of dirt and sand. They had to dig up the one on the moon.

reply

In the film, Kubrick quite deliberately shows that the monolith is no longer where it was the day before and has vanished. This opens up interesting metaphysical questions about what it was and what it represented. If they ever did a remake of 2001 (which I hope they don't) one thing I would suggest is that the monolith on the moon send two signals - one to Jupiter (or Saturn, as it was in Clarke's book) and the other back to Earth. When Dave's gets the recorded message from Floyd after disconnecting HAL, it could be explained to him about the two Monoliths and that bones of hominids and the oldest evidence of tool making were found nearby at the excavated site the signal was pointed at. This would avoid the need for a opening Dawn of Man sequence and allow the film makers to completely restructure the story, perhaps even incorporating 2010 into it as well. There's an extremely low probability that a remake would even equal let alone exceed Kubrick's original, but there's no point in trying to make a scene for scene remake, that definitely would never work. If they were smart they could begin in the middle of 2001 and move on from there. Of course, it would be even smarter not to remake it at all.

reply

You don't like the Kubrick structure but don't want a remake to a Star Wars type hype?

As for AA, "could it BE there is another explanation for ape scenes?"

http://www.kindleflippages.com/ablog/

reply

You don't like the Kubrick structure but don't want a remake to a Star Wars type hype?

Nowhere in my post did I suggest I didn't like Kubrick's structure or that there should be a remake. I said if someone should (foolishly) remake it they would be wise to distance themselves from Kubrick (and Hyams, for that matter) as much as possible and make their own film (and lots of luck with that).

reply

I didn't like Kubrick's structure

---


You want to do away with the ape missing link scene

http://www.kindleflippages.com/ablog/

reply

[deleted]

Nope, Les, didn't say that, nor did I say the scene should be done away with, but that putting some daylight between myself and Kubrick/Hyams would probably be a good idea, and that one powerful way of doing this would be either to begin in modern/future times and show the events depicted in the film's Dawn of Man indirectly or show it via flash back at a later point than Kubrick's version. Kubrick's radical and bold time jump with the bone turning into a spaceship is insuperable and only a fool would even attempt to better it. By the way, Clarke's Dawn of Man sequence is considerably different that what the film shows, so there's that angle as well. Nevertheless, it's a moot point since I don't want the film remade, anyway. However, if Hollywood were foolish enough to green-light such a project, and if by chance it fell upon me to direct the film (and I was desperate for the money), no way would want to follow Kubrick's film shot for shot unless I wanted to set myself up for failure, because Kubrick's film can't be duplicated.

But just to play Devil's Advocate...unless you felt you had something new and different to say with the material why bother remaking it? That's like repainting the Sistine Chapel. There are, however, myriad other ways of presenting similar ideas and themes as Michelangelo or Kubrick, but coming up with a radically new work of art, just as radical in it's own time as the Sistine (or 2001) were in theirs. The more it was like Kubrick's the worse my film would look by comparison. At least mixing things up might force me to think for myself and come up with my own philosophical questions and ways of presenting them.

reply

Erm...you do know Lester's strictly a troll, yes? He's merely yanking your chain. That's all he does. It's all he cares about doing. Substantive discussion is of no interest to him.

But have at, and may you enjoy.




The Dumpster gives a whole new meaning to "red" states.

reply

Well at least he can do it and isnt a pseudo intellectual.

R.I.P Thomas Ashe

reply

isnt a pseudo intellectual

I could never detect any trace of intellect in Lester's posts, whether pseudo or otherwise. But then I haven't bothered with him in years. Too bad you haven't the brains to do the same.




The Dumpster gives a whole new meaning to "red" states.

reply

Making assumptions as usual I see.

R.I.P Thomas Ashe

reply

[deleted]

I never saw anything metaphysical in it at all ... but that's just me.
It was so hardware science fiction I think the metaphysical aspect was unintended,
and recall that Arthur Clarke was about as concrete science of a guy as you could get.
I thought the monoliths each had their uses ... missions ... purposes.
The first one was to stimulate evolution of intelligence in the apes.
The second one was an alarm of sorts.
The the final one was the gateway to the stars.
There is no need to maintain the monolith on Earth,
but symbolically, maybe the monolith was just a placeholder for something
we humans cannot yet imagine so it was reduced to a rectalinear object ...
something not of nature related to mathematics ... 1 x 3 x 9.

I thought the robot in "Interstellar" picked up on the same idea. We cannot
even make a good robot today in the movies, so they made that weird
monolithic looking thing to just be a placeholder for something we have
to imagine.

reply

hey made that weird monolithic looking thing to just be a placeholder

I'm glad you picked up on that. Though, in Nolan's defense, I judge that to be one of his affectionate homages to Kubrick.


The Dumpster gives a whole new meaning to "red" states.

reply

"... even those who praised the film on relatively superficial grounds were able to get something of its message. New York was the only really hostile city. Perhaps there is a certain element of the lumpen literati that is so dogmatically atheist and materialist and Earth-bound that it finds the grandeur of space and the myriad mysteries of cosmic intelligence anathema ... I will say that the God concept is at the heart of 2001 but not any traditional, anthropomorphic image of God. I don't believe in any of Earth's monotheistic religions ..."----Kubrick

"I never saw anything metaphysical in it at all ... but that's just me."

That's like saying that the Bible has nothing to do with ... religion.

Metaphysics (on the nature of things, the nature of being, that which pertains to ontology, etc) is what the film is all about. Remove that central aspect, the film's core themes, and it would be a piece of banal, disposable stupidity.

"It was so hardware science fiction I think the metaphysical aspect was unintended,"

It's the other way around.

"and recall that Arthur Clarke was about as concrete science of a guy as you could get."

That's why he spent his life writing fiction? Because he's a 'concrete science' sort of a guy? All science fiction is fundamentally fantasmatic, theological, philosophical, metaphysical, with its standard tropes/techniques (like, say, time travel) the means by which such ideas are explored, imagined. While, for instance, time travel is obviously an empirical impossibility, as an SF trope it enables ideas about time (the nature of time, the passage of time, relations between past, present, future, the influence of history, the materiality of time, etc) to be portrayed and speculated about.

Scientists, ESPECIALLY today's ones, are a profoundly superstitious lot; it's just that they don't know it, they deny this, even as they surround themselves in a plethora of fictions, fantasies, superstitions, and fetishes, LIVE them.

People forget that many of the most well-know scientists in history (back when 'science' was called 'natural philosophy', a particular branch of philosophical enquiry/exploration) were not primarily scientists: Galileo, Copernicus, Newton, Darwin, and numerous others, were actually clergy and/or extremely religious, always battling with themselves, struggling with Doubt, trying to reconcile a myriad of conflicting notions, such as the nature of the empirical, the fictional, the fantasmatic, the religious, the scientific, etc. They were largely 'religious' people who explored the physical, the empirical, from matter to cosmos. There's a complex and paradoxical inter-relation, then, between knowledge provided by the sciences and the assorted beliefs, fictions, fantasies, provided by metaphysics, including pure philosophy, theology, religion, superstitions, and, of course, all the deceptions and lies that frame, mediate, and structure everyone's fictionally-based everyday 'reality'.

Today's scientists are not atheists (nor anyone else for that matter; the idiot who insists he's an 'atheist' is just someone who is ignorant of what he really believes [which is why he is an 'idiot', a fool], is in denial of what he believes, even as he practices every day what he in fact believes [eg all his daily cultural practices and rituals, all of which are based on assorted superstitions and fantasies). Indeed, the first thing that is striking about today's scientists is how their lives are completely surrounded by fantasies of all kinds, including 'science fictional' ones, including all manner of New Ageist neo-paganist obscurantisms, including pseudo-spiritualist and ego-centric delusions, including theological fantasies of 'transcendence', and so on. Indeed, the more 'hard-nosed' empirical their orientation becomes in their 'official' everyday reality, the more they begin to resemble a (pseudo)religious fundamentalist (because they are their mirror image, their flip side), and end up as a nasty bigot spouting deranged hatred (a manifestation of their truth, of their mad superstitions), which is exactly what happened to Richard Dawkins (among many others, it should be noted).



"I thought the monoliths each had their uses ... missions ... purposes."

Purposes? You say this having just claimed that the film had no metaphysical 'intention'? As soon as anyone pre-supposes a purpose to anything, or asks questions as to the purpose of something, anything, they are IN metaphysics, are dealing with metaphysical preoccupations. It is always unavoidable, is what is always uppermost for all humans (if you remove the very notion of Purpose from any human, their entire world collapses, they suffer a breakdown, abject despair, go mad, and/or commit suicide or engage in murderous-suicidal behaviour etc). It's just that insular or naïve empiricists are unaware of all this, are unaware of their - mainly theological, superstitious - beliefs, the very beliefs that structure their entire existence and without which they would go literally insane. Humans always need a purpose in order to live at all (it manifests as what we call Culture), even though the cosmos is without purpose, has no purpose written into it.

"something not of nature related to mathematics"

Mathematics has nothing to do with Nature/Cosmos/World? So you are anti-science, you reject all science? Science is largely BASED on mathematics, and it is its medium, so therefore science has nothing to do with nature, is just a pile of nonsensical babblings and escapist imaginings?

Newton's mathematical formulation, his equations, Einstein's equations, etc, have nothing to do with nature? E=Mc**2 has nothing to do with Nature? Really? Like saying that philosophy has nothing to do with ... ideas?

It is by means of such 'abstract' formulations that we in fact - and paradoxically - gain a 'knowledge in the real', a knowledge about cosmic/natural processes (eg about matter, energy, space-time, etc), even though these equations are purely symbolic, are 'in themselves' meaningless (eg they are not going to tell you how you should live your life, how you should feel, what you should do, what purpose you might give yourself, who or what you 'really' are, or why bother to do anything at all, or what death is, etc; from this perspective, such science is useless, for it is outside of metaphysics even though it is entirely based on it, based on a set of metaphysical assumptions/presuppositions, such as the principle of inertia).

Don't you think you might need to 'revise' your assumptions about ... everything?

"so they made that weird monolithic looking thing to just be a placeholder for something we have to imagine."

How can it be imagined if it is something unimaginable? If it is that which resists all imagining, resists all symbolization, is that which is outside our ability to represent, is the limit, is beyond/outside the symbolic dimension, outside of meaning? That which exceeds the symbolic: The sublime, the Real ... (unknown, outside, external, the void, the nothing ... and the possible, the impossible that becomes potentially possible, the impossible that happens).

Such a 'monolith' (in "2001", not the other Nolan nonsense) is what ENABLES imagining, desiring, thinking, questioning, etc, is that which CAUSES desire, but not a desire to 'imagine' the monolith, but to desire, to see that there is more to things, more to the cosmos, to the world, that just the world itself, just the dreary, banal,'empirical'. Because the 'monolith' as such and in this sense DOES NOT EXIST, but is the Void, the lack, the loss, the excess, that makes us Want, makes us desire, is all that we have repressed about ourselves and the world, is a symbol of the Real, of everything we don't know.

Yes, of course I completely agree, but aren't you actually completely wrong?

reply

You have some points in your nasty diatribe, but after a couple paragraphs I put you on ignore because you just seem pointlessly arrogant, competitive, condescending and belligerent - it would be a waste of time to try to discuss something with someone with such a profound mental illness.

reply

model

reply

HAL wanted to hide his actions from Dave, and also goad Dave into a rescue of Frank.
In the book the monolith on Earth just disappears one day after it has done its job on the apes.

reply

[deleted]

Spot on. :)

reply

This ISN'T a movie about the monolith makers. It's a movie about humankind. Focus on that central point, and you'll finally understand the film.
.........OR

A member can ask a question NOT focused on the central point or relevant to understanding the film, it's called freedom of speech. Just like you have the freedom to keep your big mouth shut and just scroll past questions you have deemed irrelevant, you forum nazi control freak.







-------------------------
One of these days I'm going to cut you into little pieces.

reply

And what happened to the first monolith on earth?


The monolith on earth is the monolith on the moon. After assessing apes to be capable of evolving higher intelligence the monolith retreats to the moon and buries itself. Once we evolve sufficiently to find the monolith, that event triggers it to send its signal.

--East lie the Iron hills where is Dain--

reply