Silence, Rape and 2001, A Space Odyssey
September 26th 2008 08:09
As you may have noticed by this time, I tend to like old films - and films that are quintessentially dramas. To expand on that last thought just a tad, I tend also to shy away from science fiction films - even though few genres lend themselves as easily to powerful moral and sociological insights. the reason for my reluctance to watch them is actually a very simple one: I had the grave misfortune of watching a few too many porous ones while growing up in a small town where it seemed like the only thing on television was old Star Wars and Star Trek "flicks". Nonetheless, in spite of my reservations, there is one sci-fi flick that easily ranks among my top-10 list all-time: 2001, A Space Odyssey.
The strength of the film, in my view, are the many lengthy silences that create a creeping feeling suspense as the movie wends its way inexorably towards the denouement. Probably the greatest "silence" in the whole film occurs when Keir Dullea's character, David Bowman, systematically unplugs HAL after the latter has, with frightening nonchalance, killed off Bowman's crew-mates. In this scene, and throughout the film, Dullea's ability to portray Bowman as a remarkably level-headed and composed individual makes the final act of violence - no matter how well-deserved - somehow mildly shocking and out of character.
Rarely is a scene in any motion picture "perfect"; in fact, perfection is basically unattainable in any cinematic endeavour - though the greatest films do approach perfection in their own ways. Nonetheless, the scene wherein Bowman unplugs HAL - with its heavy breathing, its suffocating silence and its relentless yet methodical rhythm - is the very embodiment of perfection because of the manner in which it ties together so many themes in the film: here, you have the primitive man of the opening moments of the film revisited in the grim figure of David Bowman; here, you have the machine - the artifical creation of man that threatens to supplant its creator (if only on this one ill-fated vessel) - acting more human than the voiceless character of Bowman; and, finally, you a feminine presence injected into an environment that is noticeably lacking in femininity of any kind because the scene almost feels like a rape scene with HAL playing the part of the frightened female and Bowman - who has nonetheless every reason imaginable for being outraged - playing the part of the offending male.
If you ever get a chance to watch Kubrick's masterpiece, do not let the opportunity pass, for this scene is the quintessence of the terror that runs through the film.
The strength of the film, in my view, are the many lengthy silences that create a creeping feeling suspense as the movie wends its way inexorably towards the denouement. Probably the greatest "silence" in the whole film occurs when Keir Dullea's character, David Bowman, systematically unplugs HAL after the latter has, with frightening nonchalance, killed off Bowman's crew-mates. In this scene, and throughout the film, Dullea's ability to portray Bowman as a remarkably level-headed and composed individual makes the final act of violence - no matter how well-deserved - somehow mildly shocking and out of character.
Rarely is a scene in any motion picture "perfect"; in fact, perfection is basically unattainable in any cinematic endeavour - though the greatest films do approach perfection in their own ways. Nonetheless, the scene wherein Bowman unplugs HAL - with its heavy breathing, its suffocating silence and its relentless yet methodical rhythm - is the very embodiment of perfection because of the manner in which it ties together so many themes in the film: here, you have the primitive man of the opening moments of the film revisited in the grim figure of David Bowman; here, you have the machine - the artifical creation of man that threatens to supplant its creator (if only on this one ill-fated vessel) - acting more human than the voiceless character of Bowman; and, finally, you a feminine presence injected into an environment that is noticeably lacking in femininity of any kind because the scene almost feels like a rape scene with HAL playing the part of the frightened female and Bowman - who has nonetheless every reason imaginable for being outraged - playing the part of the offending male.
If you ever get a chance to watch Kubrick's masterpiece, do not let the opportunity pass, for this scene is the quintessence of the terror that runs through the film.
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