Archive for February 9, 2019

An Odyssey in Bits: Moonwatchers

Posted in FILM with tags , , , , , , , on February 9, 2019 by dcairns

Fadeout on Rossiter/Smyslov. Fadeup on chunky moonhopper on its way to Earth’s satellite. Fadeup also The Blue Danube again, just to piss off Quincy Jones. Because we’ve already heard it, and because we don’t have a spinning wheel-shaped space station this time, the reprise feels like a lesser sequence, but it has some really lovely shots. The inside of this craft has a great sixties/seventies leisure centre look… it actually feels a bit like the ABC Cinema where I saw 2001 in the seventies. Heywood R. Floyd is asleep AGAIN, there are more cute stewardesses, and a mouth-watering selection of vegetable drinks. The stewardess gets to demonstrate the power of grip shoes by walking up a curved wall in a tubular corridor until she’s upside down. I wonder if they ought to have filled the drinks trays with helium to make them look weightless in her hands. I mean, they look light, but not like they would float off, even though Heywood’s does.

The stewardesses are studying self defense.Zero gravity toilet gag! For those who are interested, or even concerned, the full instructions can be read here.

Randy Cook points out the similarity between the moonbase’s dock and the selenites’ solar power panels in THE FIRST MEN IN THE MOON, released not long previously, which shared some crew, notably effects man Les Bowie.  Kubrick wasted a good bit of his time on earth worrying about whether the TV show Space 1999 was infringing his copyright — “The title is just two years removed from our own!” But you can’t copyright a title, Stanley. However, he might have potentially sued Gerry Anderson and his team for ripping off the look of Moonbase Alpha from his Clavius base. Pick your battles.

Kubrick also remarked that older viewers seem to be depressingly word-based in their thinking — several picked up on the characters’ discussion of “Clavius” and imagined that H.R. Floyd was on his way to a planet called Clavius. He knew that most audiences wouldn’t know that was a place on the lunar surface, but assumed they’d figure it out when they got there. When he asked kids how they knew his destination was instead the moon, they all replied, “Because I SAW it.”If you want reasonably compelling proof that Kubrick didn’t fake the moon landings — and I’m only speaking to those of you who want it, I can’t be bothered with anyone who NEEDS it — consider how everyone on the moon walks about as if the gravity were earth-normal. No galumphing sideways meerkat loping for Heywood R. Floyd, thank you very much. And nobody’s wearing grip shoes. We might guess that Kubrick is supposing some kind of goofy artificial gravity in the Clavius briefing room, but Arthur Clarke would surely have nixed such unscientific nonsense. And when we see the astronauts outside at the excavation site, they’re STILL walking perfectly normally, as if strolling around Borehamwood on a May morning. It seems nobody concerned with the production predicted the effects of the low lunar gravity, or else they dismissed it as too finicky to deal with (subtle slow motion might have been an option, reverting to normal speed when Floyd and his colleagues talk, keeping them stationary for dialogue or looping in normal-speed lines…)Further proof that S.K. the perfectionist wasn’t perfect: (1) the stills photographer in the briefing room has a hideous, Great McGinty-style suit; (2) big-ass continuity error on Floyd’s posture as he addresses the assembled bods.A beautiful lunar cruise in another lovely craft, with Ligeti’s Lux Aeterna for company — the micropolyphony (don’t know what it means) of the unaccompanied choir gives an eerie, celestial (or selenite) tone which anticipates the appearance of alien artifact #2. We couldn’t have stood another iteration of The Blue Danube, so Kubrick transposes the eerie emotions of the upcoming scene over this more neutral one. As ever, those effects that don’t quite convince are the ones that look like still photographs on a rostrum camera set-up, but they’re beautiful anyway.More unappetizing space food, and more monotonous space dialogue. Floyd, the world’s blandest man, has a tendency to parrot back whatever anyone offers him, sometimes repurposing their words a little, and the others do the same to him. His dialogue isn’t chicken, but it tastes the same anyway.

“What a wonderful surprise to meet you here.”

“You’re looking wonderful.”

“I appreciate the way you’ve handled this thing…”

“Well, the way we look at it, our job’s to do this thing the way you want it done…”

It’s not quite Tom Cruise’s baffled echolalia in EYES WIDE SHUT, where he repeats every damn sentence spoken to him, but it’s an early clue to the new direction.

The original script, or one of them (here) suggests more dialogue, in particular stating clearly that the recently unearthed (or unmooned?) monolith may be solar-powered (because it’s black, therefore absorbs light) but has not actually seen daylight for millions of years, and has not yet been shone on by the sun since they cleared the moondust off it. So that the low angle “eclipse” shot that accompanies the painful high-pitched whine — the Jupiter signal, we must presume — shows the sun actually triggering the hitherto inert device.A lot of Kubrick’s dialogue slashes have the effect of making the action more ambiguous or mysterious, which is clearly both deliberate and, I would argue, good. In this case, the repeated angle with the sun cresting the monolith suggests an almost astrological event, which I’m sure would horrify Arthur C.C. Of course, the fact that the astronauts apparently HEAR the Jupiter signal from the monolith, through the vacuum of space, doesn’t make literal sense, but as we don’t know quite what kind of signal it IS, I guess we can’t rule out the possibility.

Might have been funny if the stills photographer at the excavation was wearing a loud plaid spacesuit.

Just when the whine becomes too irritating to bear, we cut to ~