Strangelove: Or How I Learned to Stop Worrying and Love the Bomb, a scabrous, absurdist comedy that dared to poke fun at humankind’s seeming full-throttle race toward nuclear apocalypse. In this MoMI Story, read more about the making and reception of the film, which was celebrated in the Museum exhibition Envisioning 2001: Stanley Kubrick’s Space Odyssey.īy the time he began conceiving 2001: A Space Odyssey, New York–born and bred photographer turned director Stanley Kubrick had established himself as one of the most important voices in American cinema with 1964’s Dr. Yet the ambition of the film’s labored production and unorthodox conceptual process made its eventual classic status anything but a sure thing. Clarke, Kubrick brought an unprecedented depth and formal radicalism to the genre, creating images of technical complexity and metaphysical depth that remain lodged in the cultural consciousness. In close collaboration with science-fiction novelist Arthur C. This was especially true for the spaceship-like interior of the Sumner Redstone Theater, where we frequently show 2001 in the thrillingly large 70mm film format. Not only has the film become a centerpiece of the offerings in our theater and the subject of a major temporary exhibition in our galleries, the film’s modernist look was a key inspiration for our building’s architect, Thomas Leeser. Yet Stanley Kubrick’s science-fiction masterpiece-which envisioned a realistic, highly detailed future for human space travel imagined a cautionary tale about our reliance upon rapidly advancing technologies and at the same time offered an abstracted, ambiguous narrative about the spiritual paths for all sentient beings that’s still discussed and puzzled over in the 21st century-has particular meaning for Museum of the Moving Image. Among the most visionary films ever made, 2001: A Space Odyssey (1968) would be an essential touchstone for any institution devoted in part to the craft and history of film.
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