Yuku free message boards

Hey, Gang,

Got my copy just a week ago-- a thank you gift that keeps on giving. As an enthusiast of Kubrick, I found this squeaky clean, with nothing that would deter Mr. K. from his sainthood. What is eminently dispensable was the poorly collected "frame blow up" section-- half the book. Entire pages devoted to title cards seemed a bit much. Oh sure, I like nice clean shots of Elisha Cooke, Jr. and Sue Lyon as much as anybody, but I've seen the movies in revival houses several times, also seen many frame blow-ups that have sufficed.

As for things 2001, well, you guys know just how much is out there to be seen. Yes, there are several images that are a wonder to behold. Clearly Kubrick allowed any number of set still photographers full access during the four years of production. Entire pages devoted to slightly interesting, albeit never-before-seen *single* images also seem a bit much. For a technical enthusiast like me, the article selection was a bit disappointing as I have most of the source material. Okay, maybe not everybody has that, but there is little new techie information to be had. Yes, there are interesting images to accompany the articles but I found that all that is new is what can be gleaned from these small-ish images. Not much. The tattered and faded-tape-filled notebook pages are as interesting as anything else, but quite spotty and often mysterious. I say spotty, because if you are not already familiar with the "slit scan" method, front-projection, matte work and color shifting the original records, there isn't much to be gained.

On that particular note, in connection with some new optical processes, there are footnoted references to a "Hawk Films/MGM exclusivity and confidentiality contract" on pg. 385. This simple reference -- "Hawk Films" was Kubrick's production co. name-- may provide a clue as to why Kubrick was so thorny and intractible on yielding sole credit for visual effects design. We all may recall a rather touching interview with Douglas Trumbull in Cinefantastique's big 2001 retrospective, wherein Mr. T. was speaking of trying to get Mr. K. to relent on the "individual" nature of the screen credit. It seems that Mr. T. was unwilling to let the disagreement degenerate into real ugliness-- out of respect, I am guessing; my interpretation of the transcribed spoken word -- but just threw up his hands in frustration. Never to be satisfied as Kubrick died only a few years later.

Okay-- yes, I enjoyed the book. I did learn many interesting things about his entire life. There are many set production stills from all Kubrick's other movies that are every bit as revealing as what we (here) all know and have seen about 2001-- so for Kubrick and Kubrick alone, this is a wellspring of fascinating things. For 2001 enthusiasts, a water fountain.

I admit to being a little peevish on the subject of 2001 photos, but the glimpse of what Mr. Larsen has dug up simply shows that, as nice as the Taschen book is, there's a boat-load of other, even more interesting images and stories. To wit: if you turn to pg. 394 and squint at picture "2SO.97" and "2SO.107" on the next page, you will see what I'm talking about. I know-- those were taken by Kubrick himself and unlikely to be seen in any other venue that is not sanctioned by the Kubrick estate-- but they are indicative of more, much more.

Is the book worth having-- you betcha. But I cannot wait for Larsen's book. I only hope it is less than a $100.