Every now and then you hear rumors that some bonehead movie producer plans to make a sequel to Gone with the Wind or The Wizard of Oz, and you think to yourself, “How on earth could anyone get such a stupid idea?” Well, somebody got the idea to make a sequel to 2001: A Space Odyssey. Even worse, they actually followed through on this stupid idea.
The result, 2010, is a ridiculous addendum to one of the great visionary works of the cinema. It takes up pretty much where 2001 left off, with stills from the first film to remind us of what happened to the first Jupiter mission, which was examining a large, inexplicable black monolith. (This introduction doesn’t make mention of any huge Star Child floating around.)
2010 has Russian and American astronauts cooperating to find out what went wrong with that mission by traveling to Jupiter and boarding the abandoned spaceship. The recognizable crew members for the new flight are Roy Scheider, John Lithgow, Helen Mirren, and Bob Balaban (the translator in Close Encounters).
Oh yes, there are a couple of members of the old crew still around. Dave Bowman (Keir Dullea), who underwent the series of inscrutable episodes at the end of 2001, still exists in some form near that monolith. And HAL 9000, the computer that flipped out so memorably before being dismantled, is resurrected.
The voice of HAL is Douglas Rain, the same actor who gave such unforgettable life to the computer in the 1968 film. Almost the only truly eerie moments in 2010 belong to HAL, because Rain’s voice is in subtly sinister character.
The rest of the film is hooey, with the imminent nuclear war on earth an obvious set-up for the unsurprising, upbeat ending. Writer-director-producer-cinematographer Peter Hyams (he did Capricorn One and Outland) throws in a couple of suspense pieces early on (a dull orbit entry and Lithgow’s shaky spacewalk) to distract us from the main objective, which is finding out what in tarnation that big black thing is.
Hyams gets the look of the film okay, but for all the technical progress of the last few years, it still doesn’t equal 2001. And he certainly can’t equal the earlier film’s stylistic breakthroughs; all he does is overlay his own optimistic view on things.
Stanley Kubrick would probably be disgusted by that. It was Kubrick’s chilly genius behind 2001, of course, and he is nowhere to be seen in this film—except as briefly glimpsed on the cover of Time magazine. Arthur C. Clarke, whose story “The Sentinel” inspired 2001, also wrote the sequel as a novel, and apparently had input on Hyams’ screenplay.
In a way, I’m almost relieved 2010 turned out to be as negligible as it is. Sometimes an ambitious or outrageous sequel can, in weird ways, tarnish the memory of an unimpeachable original. There’s going to be no problem about that with 2010. We can all just forget it.
First published in the Herald, December 7, 1984
Mostly I just remember being annoyed by the effrontery of the movie—the nerve of these people. Along with Rain’s vocal performance hitting the expected moments, there was a shiver conjured up by Keir Dullea’s presence, in part because he looked freakily like the guy from 2001—Dullea hadn’t aged much, and he didn’t have that many subsequent movie reference points to alter the image of Dave Bowman.