What are some brief insights on 2001?

                               DAWN OF MAN

-- Opening of film dovetails neatly with end of DR. STRANGELOVE: "We'll
   meet again, some sunny day . . ." First image in film is of a
   rising Sun.

-- DAWN OF MAN sequence in 2001 a "prequel" to DR. STRANGELOVE. 
   Obviously, Kubrick pondered deeply the astonishing reality that idea 
   that man was smart enough to blow up the earth, but not smart enough 
   to stop that from happening (man doesn't want to nail himself, but he 
   does). How could such a phenomenon occur? Beginning of 2001 attempts 
   to show how we got fooled into heading down the wrong path. Story of 
   man told in actions of the simians.

-- "If there's a World War III, World War IV will be fought with
   sticks and stones." Bombing ourselves back into the Stone Age.

-- Sun not just light, but heat (a desert). Sun not necessarily good!
   Sun is positive in relation to dark, but not to desert. There, sun =
   negative, water = positive. Messages: a) relativity; b) need Sun AND
   Water to survive -- objectivity -- avoid dissection, look for
   integration. White = evil, black = evil, together = good (negative
   + negative = a positive).

-- Leopard kills Zebra. (Zebra = coexistence of black and white?)

-- Opening of film a twist on GARDEN OF EDEN myth. The "Garden" turned
   out to be a desert, and it turns out Adam was a chimp. Adam's rib   
   isn't his, it's from a dead animal. He doesn't create a woman with
   it, he kills with it. The Tree of Knowledge is inanimate. The Apple 
   eaten: meat? steel?

-- Why the twist? Earth not a garden to lose, but a desert to irrigate
   and make a garden. We didn't lose Paradise, we failed to work for
   it.

-- First discovery of Monolith: everything out in the open, can't miss
   it, can't hide. Has to be, for the apes. Has to be obvious to
   be seen. Second discovery of Monolith: truth is below the surface,   
   have to dig for it. Still can't hide (from HAL), but now
   you're shut in (in a loop: Poole shadowboxing around periphery,
   space station circular like a Ferris Wheel -- loop = lack of
   progress, going around in circles).

-- Kubrick reverses typical semiotic code: black here can be good
   (monolith = knowledge, or black = the stage, the platform, open
   possibilities, hole to jump through), white can be death, evil 
   (bones, sterility, cold, clean = lack of diversity).

-- Merging of the literal and metaphorical: Man both a literal and
   metaphorical chimp. Even though the answer is right in front of
   us, we miss it. Once the obvious is discovered, we're on our way.

-- Bone right there in full view. Don't have to dig to find it. You
   do, however, need to de-anchor the bone from its old frame of
   bone-as-STRUCTURAL DEVICE and re-anchor to bone-as-WEAPON. That's
   something. Note: if "necessity is the mother of invention,"
   (father?), then a primal impulse provided the intellectual
   energy needed to make the shift (the same combination that leads
   to development of the atomic bomb [cf. later match cut]).

-- Bone is discovered when the chimp is cut off from the group. When in 
   a group, listening to the music of the spheres. Alone, coming up with 
   bad ideas (compare Jack's writings in THE SHINING, Ripper's plan in
   DR. STRANGELOVE). "Bad" because not thought through (since not
   discussed with others; no feedback).

-- Chimp at first seems harmless. He's "playing" (beginning of 
   creativity?). But he's playing with fire. It's not just that he's
   beating some old bones apart that inspires dread; but the knowledge
   of what this will lead to down ("up") the road. (Technical knowledge 
   + impulse without correlative long-term view).

-- "Dawn of Man" music plays while chimp is playing with bone. Now the
   "dawning" is the dawning of consciousness (the movement from
   unconscious to conscious, night to day, is mirrored in the movement   
   of chimp to man [ignorance to knowledge]). Note that as Kubrick
   films the scene, it only "dawns on" the chimp that he CAN use the
   tool to destroy. What doesn't yet dawn on the chimp is why he
   SHOULDN'T (the "is" precedes the "ought"; technical knowledge comes
   easier than moral knowledge). The chimp is only smart enough to 
   discern the obvious.

-- Existence of the bone guarantees that chimps must now divide into
   separate, rival groups: must split apart for "survival" (even
   though the splitting-apart leads to DR. STRANGELOVE scenarios).
   In case it wasn't clear before, it is now: bone = death in more
   ways than one.

-- Apes by water -- you'd think they'd cooperate, start agriculture.
   Instead, they fight over it. Don't think about future retaliation.

-- The man-apes were given the use of tools by the Monolith, but     
   they learn to kill other man-apes AFTER the Monolith has     
   disappeared.                                              (M.M.)

-- Pro-MoonWatcher (as bone-wielder): he went first; took risk.
   Con-MoonWatcher (as bone-wielder): he was the chimp who steered us up 
   the wrong path.

-- Is the chimp who touched the Monolith the same one who wielded the
   bone? Maybe the chimp who touched the Monolith is the one who
   got killed by the bone (echoes of Christianity).

-- Monolith points up and down, not left and right. Vertical orientation
   (go deep and high, not sideways).

-- Abstraction = high (in the clouds) = confusion. Concrete (desert 
   looks like) = clarity (landscape, bare terrain).

-- The bone goes UP. UP = "progress"? (But "what goes up must come 
   down"). Watch for the precise moment when Kubrick cuts from bone
   to satellite, and focus on the directional motion of the bone.

                             DAY OF MAN

                         Space Station/Moon
                         ^^^^^^^^^^^^^^^^^^

-- The switch from Richard Strauss to Johann Strauss (on the downbeat 
   of the bone) is a marvelous pun, and makes me think of the dance 
   tunes with which the Convalescent in Zarathustra celebrates his 
   "invalidity."
                                                              (G.A.)

-- Stewardess returns Poole's pen ("the pen is mightier than the 
   sword"). Moonwatcher's bone comes back (theme of circularity --
   boomerang -- karma -- what goes out comes back in [see also
   THE SHINING -- throw ball against the wall, it comes back]). Note
   that here this "coming back" is not obvious; the tool changes form.
   Bone then, pen now. This shift in form hides what's really
   going on. Have to see below surface to get closer to "reality."

-- Design of spaceships: organic form, inorganic materials = fusion
   of organic with inorganic.

-- Banality of dialogue matches quality of food. "Garbage in, garbage
   out."

-- Hypothesis: World finally achieved cooperation (Russians together
   with Americans on space station), and was given their reward.

-- Floyd's conversation with daughter: he does not say "I love you"
   at the end.

                                                             (M.C.)

-- Floyd's daughter says "yes" repeatedly, much like Molly Bloom
   on the final page of Joyce's ULYSSES.

-- Floyd's daughter: Mommy's gone shopping, Daddy's at work,
   the babysitter/sister is in the bathroom. And what does she
   want for a birthday present? 1) A telephone (even though they
   have "lots of telephones," according to Floyd). To this Floyd says 
   "no". 2) A pet (e.g. a "bushbaby" [bush + baby = return to roots + 
   return to roots]. To this Floyd says "we'll have to see about that"
   (i.e "no"?). But maybe only one of them sees.

   The parent-celebrating-child's-birthday-electronically theme
   is seen from the other point of view later on, when Poole is 
   similarly congratulated. (The parent's "Happy Birthday" song
   in that scene foreshadows HAL's later "Daisy Daisy.") [Note
   that with his sunglasses on (indoors, so doubly shielded from
   the sun) Poole sees even less than Floyd. "18 months" (two
   birth-cycles [generations?] later, the Child is more removed
   than the Parent. Apparently, we've learned well.

-- There is, implicit in the idea that an American child in a future 
   society could ask for a bushbaby as a birthday present, a notion of 
   `human technological triumph over nature' . . .
                                                              (C.C.)

-- Floyd is "missing the party."

-- Floyd's speech: he and the person introducing him "go around
   in circles."

-- "You know, that was an excellent speech you gave us, Heywood. . .
   I'm sure it beefed up morale a helluva lot."

   Here are five statements Floyd made in that speech:

      1) The cover story of an epidemic might cause concern and
         anxiety to relatives and friends.

      2) Floyd found the cover story "personally embarassing."

      3) The truth could not be presented to the public without
         adequate "conditioning" of said public.

      4) The cover story would be maintained "as long as deemed
         necessary by the Council."

      5) "Formal security oaths" would be obtained in writing from
         "everyone who has any knowledge of the event," including
         the scientist complimenting Floyd.

-- On the ceiling, aimed at Floyd's audience, are cameras.

-- On one of the ship's readout screens, the phrase "TERM DIAG."
   "Terminal diagnosis"?

-- Floyd and his companions to the moon are lit as though the
   blood was drained out of their bodies, their faces as gray
   as their suits.

-- "Well, how about a little coffee?" Coffee is the beverage that
   wakes you up after you've been dozing.

-- The sun is not shown striking the monolith when the astronauts are 
   near it.
                                                                 (G.A.)

-- At the TMA-1 site, as the handheld camera is following Floyd 
   around, you can catch a glimpse of Kubrick, holding the camera and 
   looking in the viewfinder, reflected in Floyd's visor. Kubrick gets
   to "shoot" Floyd and "expose" him at the same time. Now let's see
   what develops . . .

                                                            (B.T./B.K.)

                              Discovery 1
                              ^^^^^^^^^^^

-- There is no ceiling and no floor, because the room is always 
   turning.                                                      (M.M.)

-- Astronaut food looks like baby food.

-- Note: food is getting blander and blander, from the savage (eating
   raw flesh) to the bland (indistinguishable sandwiches) to the
   ridiculous (paste), reflecting the personality of its consumers.
   Interior life revealed by exterior life, or "you are what you eat."

-- Bowman burns fingers; a sign, like the zero-g toilet, that a closed
   design process inevitably leads to "bugs." He got "burned."

-- HAL wins the chess game (beats Poole). HAL will always win in a 
   closed, finite system. In an open system, humanity can prevail; that 
   is, IF humans have retained their humanity -- and if they make sure 
   the system remains open.

-- From the BLADE RUNNER Faq:

             10. WHAT IS THE SIGNIFICANCE OF THE CHESS GAME?
     
   The chess game between Tyrell and Sebastian uses the conclusion of 
   a game played between Anderssen and Kieseritzky, in London in 1851. 
   It is considered one of the most brilliant games ever played, and is 
   universally known as "The Immortal Game".
     
   The Immortal Game, in algebraic notation, was as follows:
     
   Anderssen - Kieseritzky (London 1851):
     
   1 e4 e5 2 f4 exf4 3 Bc4 Qh4+ 4 Kf1 b5 5 Bxb5 Nf6 6 Nf3 Qh6 7 d3 Nh5 
   8 Nh4 Qg5 9 Nf5 c6 10 Rg1 cxb5 11 g4 Nf6 12 h4 Qg6 13 h5 Qg5 14 Qf3 
   Ng8 15 Bxf4 Qf6 16 Nc3 Bc5 17 Nd5 Qxb2 18 Bd6 Qxa1+ 19 Ke2 Bxg1 20 e5 
   Na6 21 Nxg7+ Kd8 22 Qf6+ Nxf6 23 Be7 Checkmate.
     
   The chess boards in the film are not arranged exactly as they would 
   in be the Immortal Game, and Sebastian's board does not match 
   Tyrell's.
     
   The concept of immortality has obvious associations in the ensuing 
   confrontation between Tyrell and Batty. On one level, the chess games 
   represents the struggle of the replicants against the humans: the 
   humans consider the replicants pawns, to be removed one by one. The 
   individual replicants (pawns) are attempting to become immortal (a 
   queen). At another level, the game between Tyrell and Sebastian 
   represents Batty stalking Tyrell. Tyrell makes a fatal mistake in the 
   chess game, and another fatal mistake trying to reason with Batty.

-- While watching his parents on TV, Poole is as horizontal as the
   mummies which flank him, other than a slight elevation of the head.

-- Poole jogging: hamster in the exercise wheel.          (P.B., p. 121)

-- HAL: "I'm sorry, Frank, but I think you missed it."    (P.B., p. 144)

-- DAVID (David vs. Goliath) BOWMAN (Ulysses was an archer). Bowman
   kills the Cyclops (HAL has one eye [tunnel-vision? Seeing only at
   one level? Only seeing one interpretation as legitimate?]).

-- HAL's view is, literally, "warped."

-- HAL: "There can be no question about it." HAL a) has no doubts, and
   b) has no doubt that his lack of doubt is unproblematic (he's
   "incapable of error").

-- HAL's birthday: "The 12th of January, 1992." 12 + 1 (January) +
   21 (1 + 9 + 9 + 2) = 12121. A palindrome. The same thing forwards
   as backwards. Symmetry and Circularity without transformation.

-- Bowman draws ("back to the drawing board"). His drawing is of
   almost childlike simplicity. Simple to us, but for him, in
   his culture, a "great leap for(back)ward." This is irony so
   subtle it's gasping for air. 

-- Man must return to childhood to become a superman. Bowman = 
   "boy-man." (M.W.)

-- Astronauts in closed pod attempt to beat HAL at his own game -- and
   they fail.

-- HAL knew what was on Jupiter. Wanted to fight to receive the honor.
   The human spirit beat the mechanical "spirit."

-- HAL made a mistake, and that's what made him "human." (Kubrick
   proves computer erred by contrasting the Space HAL's answer with
   the Earth HAL's answer. One of them had to be wrong). (Also: HAL's
   ingenuity at reading lips, curiousity at seeing Bowman's picture).

                              DUSK OF MAN

-- Hibernating astronauts: the reduction to absuridity (reduction ad 
   absurdum) of man in 2001. The only thing separating these people from 
   death is the shape of a line on a graph!

-- Hibernating astronauts: sleep becomes death with a machine at the   
   helm.

-- Pod turning to murder = machines "turning on" man.            (G.A.)

-- Careening pod: HAL throwing away the murder weapon.   (P.B., p. 128)

-- Everyman/Hero leaves spacecraft to save his companion; goes out to
   take the risk, so impulsively that he leaves his helmet behind 
   (also, error, trust). Does something "stupid" that we "rational" 
   people would not do. Has faith in himself and his fellow man. 
   Ultimately, conquers obstacle. This entitles him to receive insight.

-- The tiny pod holding up Frank's body like Mary in the Pieta, and 
   the giant ship Discovery just sitting there in space like some giant 
   God who isn't appeased by Dave's offering. Really cool.
   
                                                                 (A.F.)

-- Bowman has to let go of death for life.                       (M.W.)

-- Bowman has to go outside the system to break into it. It is only
   when Bowman is outside the system that the system reveals itself
   to him. (The word "RAD" flashes on the screen as Bowman goes to
   save Poole).

-- Bowman achieves his cosmic destiny by regaining the violence, the
   anger, which his numbed colleagues seem to have abandoned.
                                                        
                                                         (P.B., p. 145)

-- 2001 "breaks" at the literal level here: HAL could have killed
   Bowman quickly by depressurizing Discovery; Bowman wouldn't have
   had time to put his suit on. Notice the quick cut from tube 
   to ship, Bowman suited. This breakage may have been intentional, as 
   if to say,"in the REAL world, you may not be so lucky." (ala DR.
   STRANGELOVE).

-- Bowman blown into the tube: this subliminally echoes our most primal
   memory -- leaving a safe, warm environment to be blown out into a 
   hostile one. Here, however, Bowman wills his own birth by flipping
   the switches that will explode him into a very frightening situation.
   (This contrasts with an earlier image of Bowman emerging from the
   pod to retrieve the AE-35 unit, safely suited, slowly emerging).

-- Inside HAL's brain: red.

-- HAL's brain: tiny monoliths (many, broken up, not unified). When HAL 
   loses the Monoliths, he dies.

-- In disconnecting HAL, Bowman, in essence (on behalf of humanity), 
   'lays down the bone' (sort of like putting aside one's sidearm when 
   entering a temple) before passing through the Stargate . . .
                                                                (G.A.)

                              NIGHT OF MAN

-- As the Jupiter monolith (the crossbar of the "crucifix") turns 
   edge-wise from the light, it becomes invisible. (G.A.) [Note that
   the logical progression from surface to depth is invisibility: can't
   "see" it at all, even if you've dig for it and hit it]

-- Journey through Infinite: He's being fed all the knowledge of the   
   Universe -- and he can barely take it (trembling, almost shattered).

-- That psychedelically colored, blinking, astounded eye of Bowman's, 
   so much in contrast to the eye of HAL . . .   (G.A.)

-- 18th Century decor at end: must go backward to go forward? We took
   the wrong turn back in the 18th century (pre-Industrial
   Revolution), so now we have to backtrack to get back to the
   right fork? (Compare myth of THESEUS AND THE MINOTAUR. Goes
   into the maze, but carries a thread with him so he can go back
   in case he takes a wrong turn; compare that myth with the end of
   THE SHINING).

-- "Charge: $1.70": 170 first three digits of 1700 (beginning of
   18th Century).

-- By volunteering for the mission, Dave Bowman risks going to Jupiter
   and losing all human contact -- which is exactly what happens. 
                                                          
                                                                (J.B)

-- The room is a cage. The room is a cradle. (C.P.)

-- 18th Century decor: that move in the 18th Century was the one that
   nearly got us checkmated in the 20th -- well worth analyzing.

-- At first, Bowman wears the suit. But once he learns he doesn't
   need it, he sheds it.

-- The Last Supper: finally, the food looks good!

-- Four times monolith appears:

         -- When ape-man learns to use bone as tool.
         -- When astronauts on moon examine monolith.
         -- When Bowman approaches Jupiter.
         -- When Bowman is reborn.

                                                      (J.A., p. 290)

-- Shape of monolith: a piece of the puzzle -- you only see a little
   knowledge at a time -- just enough to get you to the next level.

-- Shape of monolith: a brick (building material).

-- Shape of monolith: a tablet (e.g. Ten Commandments).       (P.G)

-- Shape of monolith: a door.           

        -- William Blake: "If the doors of perception were cleansed, 
           everything would appear to man as it is, infinite."       
        -- Confucius: "The way out is through the door."
                                                        
                                                      (J.A., p. 289)   

-- "Alien noises" in the background: "alien" may refer to alien
   CONCEPTS.

-- 1 CORINTHIANS 14:10 -- "There are, it may be, so many kinds of 
   voices in the world, and none of them is without signification."

-- If you concatenate the three images where the Monolith has been 
   touched (by Moonwatcher, Floyd, and [almost] by Bowman, I think the 
   meaning of the rhyme becomes clear -- the young apeman, the 
   middle-aged astronaut, and the dying man (the ancient, immanent 
   father of the Starchild) are a portrait of the human race in the 
   metaphor of a personal life -- which makes the image of the Starchild 
   itself almost like a massive musical chord, the necessary resolution 
   of it all.

                                                               (G.A.)

-- End of film: twist on the VIRGIN BIRTH myth. Here, not only
   no Father, but no Mother. 

-- The human race ends at the end of 2001. Just as it begins at the 
   beginning. The Starchild is not human.
                                                               (G.A.)

-- The film ends when all relevant events that might be recorded by the 
   eye or film have ended.                                     
                                                               (J.Z.)

-- REVELATION 10:4 -- "And when the seven thunders had uttered their 
   voices, I was about to write: and I heard a voice from heaven saying 
   unto me, Seal up those things which the seven thunders uttered, and 
   write them not."

-- "Progression" of man; close to earth to away from earth (Myth
   of ANTAEUS). At end of film Starchild is "coming back to Earth"?
   Has to leave Earth to understand why must go back to Earth (going
   backward to go forward). This reverses the direction of the film
   up to this point, from leaving roots to returning to them. "Absence
   makes the heart grow fonder."

-- MATTHEW 18: 
   
   "At the same time came the disciples unto Jesus, saying, Who is the 
   greatest in the kingdom of heaven?
   
   And Jesus called a little child unto him, and set him in the midst 
   of them,
   
   And said, Verily I say unto you, Except ye be converted, and become 
   as little children, ye shall not enter into the kingdom of heaven.
   
   Whosoever therefore shall humble himself as this little child, the 
   same is greatest in the kingdom of heaven.
   
   And whoso shall receive one such little child in my name receiveth 
   me.
   
   But whoso shall offend one of these little ones which believe in 
   me, it were better for him that a millstone were hanged about his 
   neck, and that he were drowned in the depth of the sea. . . .
   
   And if thine eye offend thee, pluck it out, and cast it from thee: 
   it is better for thee to enter into life with one eye, rather than 
   having two eyes to be cast into hell fire.
   
   Take heed that ye despise not one of these little ones; for I say 
   unto you, That in heaven their angels do always behold the face of my 
   Father which is in heaven.
   
   For the Son of man is come to save that which was lost. . . ."

-- StarChild To Earth: "Will you let me live, or will you abort me?
   Will you embrace me, or will you fight me?"

-- The feeling that, post-Starchild, Floyd will be right there in the
   thick of it, holding his daughter high above his head as she turns 
   seven.

                                 CONGRUENCE

-- INDIRECT COMMUNICATION

      -- When Human touches Monolith the second time, he touches
         through a coating. Now secondhand, not direct.
      -- HAL: Artificial intelligence.
      -- HAL/IBM connection.
      -- Banal dialogue.
      -- "I'm really not at liberty to discuss this."
      -- Talking to daughter and parents through screen.
      -- Lip-reading.

-- EYES

      -- Leopard
      -- HAL
      -- Pod
      -- Bowman
      -- Starchild

-- LYING

      -- Cover story on base.
      -- Astronauts not told purpose of mission.
      -- Hal lies to astronauts.

-- LACK OF AWE IN THE PRESENCE OF THE AWESOME 

      -- Floyd has no reaction to spinning Earth in the phone booth.
      -- Astronaut photos in front of monolith (contrast with ape 
         reaction).
      -- [X deliberately planted Y] "How about a little coffee?"

-- MURDERS 
      
      -- By MoonWatcher 
      -- By HAL 
      -- By Bowman 
      -- By the Monolith? 

-- BIRTHDAYS 
      
      -- Man 
      -- Floyd's daughter 
      -- Poole 
      -- HAL 
      -- StarChild

                           ISOLATION IMAGERY

A pervasive theme of - for lack of a better word - loneliness IN SPACE 
ODYSSEY. Many of the physical compositions of the frame are based on 
isolating one figure (ship, computer, human being, Child). Although the 
earlier prehistoric scenes are often violent, all relations are 
physical, "bunched up," tight, close. All latter glimpses of man are set 
against cold sterile, often near-blinding white backgrounds which 
contrast a lone figure with its/his expansive surroundings. The human 
zoo scene is a good example, but an even clearer one for me is the Poole 
jogging scene. The music playing during that scene to me expresses the 
great loneliness of an expansive, infinite space.

                                                                (D.Z.)

                          WEIGHTLESSNESS IMAGERY

One possible theory I would like to advance (with very little evidence 
to back it up) is that Kubrick suggests a parallel between `physical 
weight' and `moral weight' through the visual elements of the film. The 
film's earliest `amoral' act is immediately followed by the celebrated 
slow-motion shot of a bone club in free-fall, cutting to the weightless 
free-fall of a military satellite in orbit around the earth. In the 
film's most morally-ambiguous passage -- the death of HAL 9000 -- Bowman 
also is floating in the weightlessness of the Discovery: his passage 
from the centrifugal carousel to HAL's central processor is intended, I 
would suggest, to show that his act of murder possesses little moral 
weight when viewed in the context of a wider violence that is inherent 
in the human condition.

                                                                (C.C.)

                                GENERAL 

-- Alignment of planets along axis: think of what had to be true for 
   2001 to be made -- Kubrick had to have had major success prior to 
   that point to get the funding for such an expensive film, the studio 
   had to be headed by someone who wasn't a "bean counter," the nation 
   had to be in the midst of sending a man to the moon (thus making the 
   topic of space "hot"), and America's consciousness had to be totally 
   twisted from the 50's mentality that infects even DR. STRANGELOVE, a 
   1964 film. Yet, every four million years or so, planets DO align on 
   an axis.

-- In my opinion, what makes 2001 pure art is that the message and 
   the medium are inextricably bound together. The "story" that 2001 
   conveys cannot be so done in any other medium -- it is pure cinema. 
   It is not a simple narrative that can be put in words, nor is it 
   something that can be done with still images, sounds, music or any 
   other artistic medium . . .

                                                                (J.H.T.)

-- If 2001 were a font, it would be Helvetica.        (quoted by R.C.)

-- Surface of film is outer space, depth of film is inner space.

-- Radical film: use of sound especially -- abstract images -- no
   dialogue at end. (Lao Tzu: "[T]he sage . . . spreads doctrines
   without words . . ." [A SOURCE BOOK IN CHINESE PHILOSOPHY, p. 
   140]. "Of that which we cannot speak, we must be silent." Showing, 
   not telling.

-- In 2001, time is noticeable by its absence. The forces behind the 
   monoliths are able to span the millennia between ape and space 
   travel, and by the final scenes (of Bowman's retirement), time has 
   become irrelevant.
                                                                (R.V.)

-- First words of the film: "Here you are, sir."

-- Last word of the film: "mystery."

-- Twist on Nietzsche: Man can't go it alone. Existentialism +
   Theology, not just Existentialism.

-- Almost utter submergence of the "female" principle [or soft vs. hard
   or warm vs. cold or "yin" vs. "yang", for a more neutral 
   formulation] (except huddling of apes in beginning): warmth, 
   caring, nurturing, real physical contact, "down to earth" etc. 
   GONE. Child and Parents viewed through a TV screen. Women in film 
   made robotic, just like the men.

-- At end of film Starchild is looking directly at us.

                                                    (Compiled by B.K.)

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