This scene absolutely fuckin terrified me. Just the music and the dread that this big dark alien thing creates is so raw. Its amazing because i think what i was feeling was the primal fear of the unknown, and as evolution and primitive nature is a big theme in the movie, as it starts off with early man...so clever
EuroTrasho Productions Define "troll". You seem to be using it incorrectly. And it actually isn't true. And now, instead of asking how that is so, you're just going to whine and conveniently skirt around defining 'troll' because you don't know the proper meaning.
This music is from the "Requiem" (1963-1965) composed by György Ligeti. This is the "Kyrie", the second section of the "Requiem". It was composed as a fugue.
@@davidkolaga8489the film and the book are very different though, and Arthur C Clark had only seen bits and pieces of the movie while he was writing, and Kubrick wanted to emphasize that and point out that the novel is not a direct adaptation of the movie or vice versa.
@@dariselectricincorporated3226 no. Not very different. The filming and the writing were carried out almost simultaneously with much collaboration between kubrick and clarke. There is considerably more exposition in the book. The movie contains just about everything in the book but not vice versa because the movie would then be about nine hours long. Other than that they are very similar.
@@davidkolaga8489 No, Clarke had not seen the entire movie before he finished writing the book, and Kubrick wanted to differentiate the two and demonstrated that by them having 2 completely seperate destinations, film: Jupiter, novel: Saturn, the film goes one direction and the novel in the other. Some of the differences are subtle, but even Kubrick said himself you can’t say “This scene from the movie really confused me, I’ll read the novel for the explanation” one is not a reference to the other, there are major differences, especially when it comes to the hidden narrative of the film.
@@dariselectricincorporated3226 clarke's descriptions of what bowman saw/experienced after he went into the monolith are invaluable aids to understanding the ending. And the more detailed story of the hominids' first encounter with the monolith is crucial to understanding the monolith's apparent (i.e. not hidden at all) purpose.
hot damn, what a great scene...the concept of the alarm letting the creators of the monolith know humans have reached a type 1 civilization (capable of interplanetary travel) is pure brilliance...arthur clarke was a master. coincidently, i saw an interview recently with physicist dr. michio kaku concurring that such a monolith was the most likely form of hypothetical alien contact...fascinating
The monolith thrills me every time I see it. It has the divine, the science, the curiosity and the mistery of the universe condensed in a black and obscure piece of very advanced technology. It's the limit of our knowledge, from our deep brain to the deep cosmos... It unifies it all, and still we are debating about its meaning. Our "real life" monolith is the Universe and we're touching its edges every day...
I like this. It's like that weird sense of fear you get when you think about the unknowability of the universe, but it's radiating out of this cold black stone.
It's a high-intensity radio wave burst emitted by the monolith when sunlight hits it for the first time since it was buried. It is signalling the monolith near Jupiter that the second stage of evolution is complete (man developing to point where they reached the moon) and encouraging the humans to follow the signal to find the third monolith thus driving evolution forward again.
One day, in a distant october, I will dress up as the monolith and station myself in the middle of a road during a dark evening whilst playing this soundtrack on a stereo I brought with me. It will be bliss, it will be scary and it will be fucking hilarious.
When this starts playing as soon as the red light comes on in the plane in Godzilla, i get chills every fucking time (Seen it twice as of now). Its so awesome and fits perfectly with the halo jump. Love that movie and will be seeing it at least 1 more time in theaters before its run is done
And I was all like "DONT TOUCH IT DONT TOUCH IT DONT TOUCH IT" when he reached out. I mean the damned thing hasn't really done anything up until this point, but it already has an aura of incomprehensible alien-ness about it. The music helps a lot, too.
I remember nearly jumping out of my seat during this section when I saw it for the first time. I didn’t see “2001: A Space Odyssey” when it opened in NYC in April 1968, as I would’ve been almost seven; I saw it as a teen. Around that time I also saw Kubrick’s “A Clockwork Orange”. That was scary as well, even though I’d already read Anthony Burgess’ book (which I highly recommend, btw) at my high school in Brooklyn.
Imo the scene would be completely tepid without the music. All of the tension comes from the way the music colors the scene. And good lord what a color.
The funny thing is that this is creepier for the viewer than it is for the astronauts. You hear all this creepy music and all they hear is the photographer's voice on the radio telling them to gather for a group photo and then that screech, which they probably just thought was their suit radios malfunctioning before turning them off. They wouldn't have known that the signal was coming from the monolith until they saw or heard about instrumentation data that said the monolith was the source, probably after they walked back to the shuttle and took off their helmets.
Sorry for the nectropost, but this is movie suspense technique 101. Beginning with Alfred Hitchcock, the master: 1) Make the audience as uncomfortable as possible during that time, but still wondering when it will happen (first major bird attack scene in “The Birds”, in the diner). 2) Ideally the person(s) are totally unaware it will happen (shower scene in [Psycho”, most notoriously). 3) Then deliver. Nowadays there might also be this: 4) A second shock as well that they didn’t expect; but that is a newer style from the modern horror genre of film. But yeah; the juxtaposition of audience being creeped out as Hell while it’s just another sunny day on the Moon for the astronauts is probably also quite deliberate, and also an expression of Kubrik’s sense of humor about such things. Films can be such powerful things when they manipulate the mood and emotions of the audience so directly and assertively.
Something else just occurred to me, an entire excavation team came here to dig this hole, clear out the area around the monolith, shore up the walls, and install the lighting rigs. They even ran power and data lines and built a landing pad. Floyd may not be the first man to touch the object.
That and the fact that the audience has seen that the last time the monolith was touched, apes were enlightened into humanity. So what'll it do the second time?
Bullshit. Nature does not, as far as we know, produce strait lines/ structures. The ONLY conclusion one could draw is that the monolith was made by an intelligent non human agency.
I attended the premier in Los Angeles. I was 13-years old. Sat two rows behind Otto Preminger. You have to see this scene crisp in a big theater, with big sound. When the bass parts of Ligeti's composition kicked in as they walked down the ramp, a felt a door being blown open inside of me. I was into science fiction already. After that I would be ready for religion in another 10-years. Kubrick is an artist. That's what artists do. They open doors for us.
I'm very glad they showed this, restored on a decent, cinema here in Brazil this year. It was the first time I watched. Really, I never cried watching any movie, but some scenes like this one, and the portal scene were so intense, that I did. And I can't even know why, it couldn't be tears of happiness, sadness or fear, maybe you can really cry tears of pure Awe.
Great scene. The acting style is almost as if we are watching a documentary. I like the guy with the camera, tilting it as if winding it, who knows what he is doing but he seems so naturally caught up in the activity but this is all staged. Hand-held photography, shooting into light source, Kubrick was a great artist.
An interesting fact: the sounds here are real music, look up Gyorgy Ligeti. This is the kyrie section from his requiem. The singers are actually singing kyrie eleison, kyrie eleison, Christ have mercy ... I think Kubrick just chose it for its suspenseful sound though.
some of the dialougue is a little cheeky but overall ....a masterpiece .... especially given the time period .... when I saw it as a kid I was blown away ....
The scene of Floyd and his mates walking down the ramp was filmed by Kubrick himself using a very heavy Panaflex 70 that he put on his shoulder as he walked down with them. It was both the first day of filming and the last day of 1965 -- December 31. Benson notes (in the "Making of" book) that most sources say December 30th but Kubrick was still working out the kinks and nothing was filmed till the 31st. In Hollywood, they got the go-ahead to film PLANET OF THE APES the same week, and that was how 2001 and POA were released so close together two years later in 1968.
The piece is Ligeti's REQUIEM. His music is mind-blowingly brilliant, and this piece makes you feel things you probably (hopefully?) never felt before!
Kubrick also considered Penderecki's Dies Irae Auschwitz Oratorio for this and a scene in the Dawn of Man part and the scene in the area of the Planet Jupiter. That piece of music would also fit 2001 A Space Odyssey well. But he decided to go with Ligeti's Requiem. BTW Ligeti had family members who were killed in the Holocaust.
@@nielspemberton59 Ligeti did not receive a single cent for this. He litigated for 6 years and was eventually awarded a one-time payment of $3,500, which didn't even cover attorney's fees.
It's the same stuff. Trailers quite often incorporate music from other films. Plus the films are both owned by Warner Bros. so they have the rights for this.
The films opening and during the intermission, we are not looking at an empty black screen at all. We are looking directly at the surface of the monolith. The monolith is the film screen and it is singing directly at its audience in the same way that the apes and astronauts are entranced by its heavenly voice, not realising that they are being communicated with directly. So no, it's not a "music" as we all expected, but the singing of the monolith when a human or sentient are close-by. Genius!
Did anyone notice that the Earth was floating in the night sky directly above the pit where the Monolith was buried? That really adds to the creepiness of this entire scene. We are still many years away from actually having a presence on the Moon.
In the presence of the grandly ineffable...and when Floyd touches it and there is that extra hum (which stops when he takes his hand from it)....just incredible
Has anybody noticed the similarities between this scene and it's music and the scene in The Thing when Kurt Russell and the lads encounter the Alien pod thing in a similar crater... It's uncanny. I think Ennio Morricone did the music in The Thing.
This music has nothing to do with Moog nor with synthesizers. It's an excerpt Kyrie from a requiem by György Ligeti, in an all-acoustical performance. Ligeti's career was wide-ranging and his works bring people into new worlds all through their ears. Two other works by Ligeti were appropriated for this movie.
The only way I find to watch this movie is in it's true 70mm print. The dread you get from sitting in a large theater, watching the astronauts approach the unknown object as the music builds over the loud speakers, is enough to instill anxiety attacks.
Although the scene in magnifficently done, it gives me the creeps every time I watch it. The music is eerie, creepy and utterly non-natural. It literary send shivers donw my spine.
The Moon is a very strange & creepy place. But at the same.time it holds so much secrets, mysteries, & history.. I know this a Science Fiction, but with the choir score playing in the background gives me horror movie vibes.....✌❤✌❤✌❤
The final shot in the scene is geometrically impossible, given everything else we've seen--which just underscores the symbolism of it, echoing other shots in the movie.
You're right and 55 years later even after seeing 2001: a Space Odyssey dozens of time, you haven't finished to ponder over its complexity and richness!
@idgarad The monolith represents many things. The apes at the beginning of this movie represents the very beginning of human existence. From the moment they discover physics and how to survive, that all represents the beggining of human thought. The monolith at the beginning represents the ability to measure, the ability to think, the ability to evolve... the beggining of LIFE... the beginning of every humans life.
Sure the creepy music is...well, creepy. However, it was brilliant of Kubrick to choose because it's a perfect choice for the discovery of an unknown object in the midst of space.
I always imagined that the reality of alien life would be like this- Humans struggling to comprehend while the artefact appears to be disinterested with the humans.
Oh, it should not be an unknown reason. This scene upsets every possible notion about humanity's superior role in the universe. It clearly should terrify any person who thinks it through.
As a child I remember owning a licensed toy of that shuttle craft.. resembled a wheel-less space bus of sorts, the same vehicle that they enjoyed those crust less sandwiches looking like some sort of pate, while so casually chatting about incredible moon anomalies...
Nous sommes ici en pleine musique contemporaine savante. Ligeti marque une rupture avec la musique sérielle et anticipe sur la musique spectrale (mouvement des années 70, dans lequel les compositeurs décomposent les sons à l’aide d e machines électroniques). Ce n’est sans doute pas pour rien que Kubrick a choisi ce morceau (quelques mois après sa composition!) pour être un des éléments sonores phares de 2001, A Space Odyssey! D’ailleurs, il n’avait pas demandé son avis à Ligeti, qui lui a fait un procès. On aurait envie de lui dire que c’était plutôt un bel hommage et que ça a largement popularisé son oeuvre ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE--iVYu5lyX5M.html
3:45 How the hell did it become sunrise to noon in almost four minutes? (A week on the Moon) ….and at the beginning of the scene, the Earth is almost full and at the end, only a thin crescent. (two weeks here)
Lyrics of this sequence: 'Eeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeee.'
it be really creepy and scary to see a big random dark black monilith that didnt reflect light wat so ever on a lawn in ur school with the choir singing louder and louder everytime u get closer......
