It’s unavoidable that it would be, once you believe that the universe is seething with advanced forms of intelligent life. The God concept is at the heart of this film. Since an encounter with an advanced interstellar intelligence would be incomprehensible within our present earthbound frames of reference, reactions to it will have elements of philosophy and metaphysics that have nothing to do with the bare plot outline itself. That is what happens on the film’s simplest level. He is reborn, an enhanced being, a star child, an angel, a superman, if you like, and returns to earth prepared for the next leap forward of man’s evolutionary destiny. In a timeless state, his life passes from middle age to senescence to death. When the surviving astronaut, Bowman, ultimately reaches Jupiter, this artifact sweeps him into a force field or star gate that hurls him on a journey through inner and outer space and finally transports him to another part of the galaxy, where he’s placed in a human zoo approximating a hospital terrestrial environment drawn out of his own dreams and imagination. And finally there’s a third artifact placed in orbit around Jupiter and waiting for the time when man has reached the outer rim of his own solar system. Then you have a second artifact buried deep on the lunar surface and programmed to signal word of man’s first baby steps into the universe-a kind of cosmic burglar alarm. You begin with an artifact left on earth four million years ago by extraterrestrial explorers who observed the behavior of the man-apes of the time and decided to influence their evolutionary progression. STANLEY Kubrick’s 2001: A Space Odyssey was a film about… Well, what is about? In 1969, Kubrick told Joseph Gelmis:
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