2001: A Space Odyssey (1968)

 Second viewing; my previous viewing was in or after September 15 (part 1) and 16 (part 2), 1983, of  a broadcast that was in pan-and-scan and dubbed in Portuguese, as I remember it.

Aliens visit Earth millions of years ago and influence the intellectual evolution of hominids through a rectangular object. In 2001, a similar object is discovered buried in the Moon. An expedition to Jupiter is undertaken in connection with the lunar monolith, the details of which are initially kept a secret from the crew. During the voyage, the onboard computer goes haywire.

I've commented on the plot premises of this movie in my commentary on the novel. It's in Portuguese, but, shortly put, those premises are bunkum. Extraterrestrial visits, neurotic computers, wormhole traveling, resurrections. Pfft! That being said, it takes very little effort to put those problems aside or assume they are simply a means to telling a story that may be enjoyable. Of course, the technological depictions in the movie are quite impressive, though overly optimistic, considering the technological state we are at. As for the "meaning" of the movie: I see it as a sort of thematic sibling, or perhaps sequel, to Plan 9 from Outer Space (1959). The premise of both films is how extraterrestrial entities attempt to dominate the world, mainly out of a benign intention of saving humanity from itself, and employ the resurrected dead as their instrument. In 2001, which we might dub Plan 10, the resurrection of one single human is deemed to be sufficient, and the means are rather more convoluted than in Plan 9.

Some people might be interested in a different view by the very erudite Christopher Mulrooney (1956-2015).

Rating: 52 (up from 44)

North by Northwest (1959)

 Second viewing (probably, first one with original audio and widescreen); estimated date of previous viewing: in or  a little after December 19, 1984.

An advertising executive gets unwittingly mixed up in an espionage affair.

The implausible plot in this is just an excuse for some imaginative and photogenic sequences. The most noteworthy aspect of the movie is the strategic insertion of takes which create a sensation of strangeness either through their unusual angles or through their depiction of unusual landscapes, or of humans in unusual configurations, or some combination of those factors. So, one might say that it is a formally impressive movie, but its impact derives not from its dynamism but from static elements in its composition. Although the plot details are, as I pointed out, unimportant, the script does add value to the film, mainly through its witty dialogue, which has an above average (for the time) amount of sexual innuendo. Being mostly a visually-oriented spectacle, I don't know whether it makes sense to ascribe it a theme, but, if thus pressured, I'd say its theme is the number two.

Christopher Mulrooney (1956-2015) has a different view about it:

"A great picture of conversion to the cause, (...)."

He's right, of course. It was purportedly intended as light entertainment, but when you look at it from Mulrooney's angle, the lightness is seen in a different light. It's the same lightness of enlisting propaganda. 'Join the army and know the world', that sort of thing. Cold war is still war, after all.

Rating:  73 (unchanged)