In the meantime, the giant monolith that acted as the “Star Gate” for Dave Bowman’s (Keir Dullea) mystical transfiguration in 2001 hangs nearby, eerily overlooking the proceedings. The Russians have a spacecraft ready to go and are the only ones who can reach Discovery in time. Chandra, a role whitewashed from Clarke’s novel, where he was a character of Indian descent) must hurry to the Lagrange point between Jupiter and Jupiter’s inner moon Io, where the Discovery‘s orbit is decaying rapidly for unknown reasons. Tanya Kirbuk (Helen Mirren) in the sick bay/hibernation chamber of the Leonov.Ģ010‘s plot is pretty straightforward: the American team assigned to the Leonov (Roy Scheider playing the role of Heywood Floyd from 2001, originally played by William Sylvester John Lithgow as Discovery engineer Walter Curnow and Bob Balaban as HAL’s creator Dr. He directed, adapted the screenplay, and acted as director of photography for 2010, and enlisted the great Syd Mead to design the Soviet spacecraft Leonov, with its trademark rotating center section (designed to simulate gravity) and interiors more than a little reminiscent of the Nostromo in 1979’s Alien.ĭr. Discovery from 2001 and find out what happened to the crew at the hands of paranoid shipboard computer HAL 9000 (voiced by Douglas Rain)-seemed right in Hyams’ wheelhouse. So the plot of 2010-a joint Soviet-American mission to salvage the U.S.S. Hyams was used to grim and gritty sci-fi he wrote and directed two of the late ’70s/early ’80s greatest conspiratorial science fiction thrillers: Capricorn One (1979) and Outland (1981). But to nine-year-old me, it was the on-screen fulfillment of every one of my early childhood dreams about space exploration and the search for extraterrestrial intelligence, as well as a window into a possible post-Cold War future founded on peace and understanding rather than mistrust and war.Ģ010‘s pedigree is solid while Kubrick deferred participating in the screen adaptation of Clarke’s 1982 novel, 2010: Odyssey Two, writer/director Peter Hyams petitioned Clarke and Kubrick for the director’s chair. To most critics at the time, it was an unnecessary sequel to one of the most historic films ever made, a futile attempt to explain away the sublime mysteries conjured by Clarke’s prose and Kubrick’s visuals.
2010: The Year We Made Contact was released in December 1984 to a great deal of publicity, but did lukewarm business at the holiday box office. Clarke’s immortal cinematic classic 2001: A Space Odyssey. No, it wasn’t Dune or The Terminator or Ghostbusters, but a now little-remembered sequel to Stanley Kubrick and Arthur C. In late 1984 I encountered a film that would become, with the benefit of hindsight, the sine qua non experience of my 1980s sci-fi movie-going childhood.
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