There is something almost taunting about the movie’s pace. “2001” is a hundred and forty-two minutes, pared down from a hundred and sixty-one in a cut that Kubrick made after those disastrous premières. A businessman overheard on his way out of a screening spoke for many: “Well, that’s one man’s opinion.” Strangelove, Or: How I Learned to Stop Worrying and Love the Bomb.” From the look of things, the Zeitgeist was not going to strike twice.
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It had been four years full of setbacks and delays since the director’s triumph, “ Dr. Kubrick, a doctor’s son from the Bronx who got his start as a photographer for Look, was turning forty that year, and his rise in Hollywood had left him hungry to make extravagant films on his own terms. The after-party at the Plaza was “a room full of drinks and men and tension,” according to Kubrick’s wife, Christiane. Clarke, Kubrick’s collaborator, was in tears at intermission. Kubrick nervously shuttled between his seat in the front row and the projection booth, where he tweaked the sound and the focus. A sixth of the New York première’s audience walked right out, including several executives from M-G-M. In the annals of audience restlessness, these evenings rival the opening night of Stravinsky’s “Rite of Spring,” in 1913, when Parisians in osprey and tails reportedly brandished their canes and pelted the dancers with objects. To hear more feature stories, download the Audm app for your iPhone.įifty years ago this spring, Stanley Kubrick’s confounding sci-fi masterpiece, “ 2001: A Space Odyssey,” had its premières across the country.
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