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Kubrick's 2001: A Triple Allegory, by Leonard F. Wheat
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Acclaimed in an international critics poll as one of the ten best films ever made, Stanley Kubrick's 2001: A Space Odyssey has nonetheless baffled critics and filmgoers alike. Its reputation rests largely on its awesome special effects, yet the plot has been considered unfathomable. Critical consensus has been that Kubrick himself probably didn't know the answers.
Leonard Wheat's Kubrick's 2001: A Triple Allegory reveals that Kubrick did know the answers. Far from being what it seems to be—a chilling story about space travel—2001 is actually an allegory, hidden by symbols. It is, in fact, a triple allegory, something unprecedented in film or literature. Three allegories—an Odysseus (Homer) allegory, a man-machine symbiosis (Arthur Clarke) allegory, and a Zarathustra (Nietzsche) allegory—are simultaneously concealed and revealed by well over 200 highly imaginative and sometimes devilishly clever symbols. Wheat "decodes" each allegory in rich detail, revealing the symbolism in numerous characters, sequences, and scenes. In bringing Kubrick's secrets to light, Wheat builds a powerful case for his assertion that 2001 is the "grandest motion picture ever filmed."
- Sales Rank: #1557728 in eBooks
- Published on: 2000-06-21
- Released on: 2000-06-21
- Format: Kindle eBook
Review
...his conclusions...ought to be pondered by everyone with a serious interest in the film...Indeed, part of the fun of reading his book is deciding whether, detail by detail, one agrees or disagrees with Wheat's specific reading...Wheat's readings of the Nietzschean allegory are perhaps even more compelling...a valuable contribution to our understanding of the best science fiction film ever. (Science Fiction Studies)
All of Wheat's correlations are well worth pondering. His writing is immediately accessible; he even directly addresses the reader, inviting forethought and additional speculation. (Extrapolation)
From the Inside Flap
Acclaimed as one of the ten best films of all time, Stanley Kubrick's 2001: A SPACE ODYSSEY has nonetheless baffled critics and filmgoers alike. Surrealism, intense symbolism, and mystifying ambiguity have created confusion and led many to doubt that even Kubrick had the answers. Leonard Wheat shows that Kubrick did have the answers--answers grounded in allegory. But whereas a normal allegory is a surface story that symbolically tells a hidden story, 2001's surface story does something unprecedent in film or literature. It tells three hidden stories: Homer's THE ODYSSEY; a spoofy tale based on science fiction writer Arthur C. Clarke's idea of man-machine symbiosis; and Nietzsche's magnum opus, THUS SPAKE ZARATHUSTRA.
About the Author
Leonard F. Wheat was an economist with the Economic Development Administration of the U.S. Department of Commerce before retiring in 1997. He is the author or (in one case) co-author of four previous books, including one philosophical study and three economic studies. He is also author of two book-length government studies and several journal articles and is an associate editor of the Journal of Regional Science.
Most helpful customer reviews
8 of 9 people found the following review helpful.
A Triple Allegory? Well...Not exactly
By Robert E Wilson
"2001: A Space Odyssey" is a truly astounding motion picture. After experiencing it numerous times over the past 32 years, I find myself still uncovering its mysteries. I love discussing the film and in doing so, I've discovered one of the most fascinating aspects is that everyone who sees it, interprets its many themes and symbols differently.
Leonard Wheat's "Kubrick's 2001: A Triple Allegory" is a discussion of Mr. Wheat's interpretations of this film. He obviously has deeply scrutinized the film and has drawn many conclusions about what it all means. His primary focus in this book is that he feels that the film allegorizes three different works. These works are Homer's "The Odyssey", Nietzsche's "Thus Spoke Zarathustra" and Clarke's man-machine symbiosis. The author goes into point by point detail of how he interprets various parts of the film and how they apply to his allegorical assertions.
For the most part, his observations are unique and make sense and quite honestly, opened my mind to ideas about the film I hadn't thought about before. This is a good thing as now I have more food for thought and an even better understanding about director Stanley Kubrick's motivations in this deceivingly complex film.
However, I do have some points of contention. My biggest problem is the tone of the writing. Mr. Wheat writes this as though he is the supreme authority of 2001. Most of his assertions are written as though they are indisputable facts, as if he knew exactly what Kubrick was intending. He even goes as far as to criticize other people's opinions and state point by point, why he is right and they are wrong. If all of this were written in the tone of it being his opinion, that would be fine, but I could not help but feel that the author was feeling superior (overman?) in his discussions of other people's opinions. There are several points he makes where I personally disagree and I believe I can come up with convincing arguments of why I'm right. I, at least realize, I am expressing an opinion.
Keeping in the spirit of opinionated interpretation, let me say that I disagree with the author about 2001 being a triple allegory. Mr. Wheat splendidly shows the allegorical ties to Homer and Nietzsche, but I just don't see how 2001 is allegorical of Clarke.
First of all, 2001 was co-written by Arthur C. Clarke so how can he allegorize himself? The author states in the book that Clarke wrote the novel after the film was released. This is outrightly incorrect. The novel was written at the same time as the screenplay. Both were written by both Clarke and Kubrick. They had mutually agreed that Clarke would get credit for the novel and Kubrick would get credit for the screenplay (read "The Lost Worlds of 2001" or "Arthur C. Clarke the Authorized Biography"). The author states that prior Clarke works incorporate his man and machine symbiosis. That is, that Clarke holds a strong belief that in the future, human and machine will combine to form a "better human". I'd like to know what works Mr. Wheat is referring to as I don't recall any other novel or short story that makes use of this theme to any degree. I've read a great deal of Mr. Clarke's novels and short stories and the only work I know of that carries out this theme is "2001: A Space Odyssey" and to a lesser degree, the sequels to it. The author has a whole section devoted to this theme and I agree that it's a fascinating theme, I just don't believe it is allegorical to anything, it's part of the actual story of 2001.
Maybe it should be titled "Kubrick's 2001: A Double Allegory" but that's just my opinion.
36 of 39 people found the following review helpful.
But he would think of something.
By Barry Pearl
2001: A Space Odyssey is one of the greatest, wondrous movies ever made. Part of its attraction is in its visuals: It advancing the story without taking the time to explain it. Many people left confused, others were dumbfounded.
Leonard's Wheat's, Kubrick's 2001 A Triple Allegory attempts to explain Kubrick masterpiece by suggesting that it really three allegories, three stories that are based on other stories: · Homer's The Odyssey · The Man Machine Symbiosis · Nietzsche's Thus Spoke Zarathustra
By its title and its music, it first seems clear that Mr. Wheat has a point. Comparing the Voyage of the crewman on Discovery to Jupiter to the Odyssey, or comparing Dave Bowman name Odysseus (who was an archer) is not new. But Mr. Wheat brought in new insight. He compares Hal, to the Cyclops who also had just one eye. He then points out that when moon Watcher kills with the first made weapon and throws it into the sky, the next shot is of an orbiting bomb, a point I never realized.
But then Mr. Wheat loses me. He contents that the monolith, known as TMA-One is a version of the Trojan House. Fine. But his reasoning is a stretch. He claims this is true because if you mix up the letters to TMA-One it comes out to "NO MEAT" a reference to the Trojan Horse being made out of wood. (Can't you see Mr. Kubrick and Mr. Clark staying up nights mixing up these letters.)? Of course when you mix up the letters to TMA ONE you can get No MATE, which may mean the Monolith represented Ernest Borg nine in the movie "Marty," or you can get NO TEAM which could represent Brooklyn after the Dodgers left.
Mr. Wheat contends that Kubrick put the three bombs in orbit to represent Aphrodite, Hear and Athena. That a bomb represents the goddess of Love is interesting, but out of place. And it goes on.
Reading the book is similar to taking a quiz. Mr. Wheat asks you, by leaving vague clues, to figure out conclusions before he gets to them. The anagram of TMA-1 is one of them. He mentions David Bowman's name is allegoric and doesn't get back to telling us why for a couple of chapters. Mr. Wheat often turns to and then turns away from what Arthur C. Clarke has said and written about 2001.
2001: A Space Odyssey should be a dated movie by now, but it is not. It is thought provoking, open ended and it remains a great visual experience, far different to any other movie made. Mr. Wheat's book brings up and explains many different and interesting ideas, but it also goes so far off into outer space ....
21 of 27 people found the following review helpful.
Mind Boggling Detail
By J. Hagerty
This is an astounding work. Mr. Wheat has been, by his own admission, obsessed by this film since it opened, and it shows. Having just completed a rather intensive study of this film myself (but strictly from the hardware side) I was extremly curious to see what the latest existential thinking was. I was not dissapointed.
The mind boggling detail with which Mr. Wheat turns over every stone in the search for alligorical meaning is almost overwhelming. He creates a strong logical argument for his premise that the film is actually telling an unprecidented four stories (the surface story, plus three alligorical stories) simultaneously.
My only problem with the book (which kept me from giving it a full five stars) is that sometimes the arguments get divided too finely. Having some knowledge myself of the turbulent and volitile manner in which the film was made, I really have trouble believing that Kubrick had everything wrapped that tightly with that sort of intricacy for the entire film. Example: Wheat says that the bug-like appearance of the moon bus, with its multiple pontoon feet, symbolizes a millipede, or "thousand feet" in latin. This, he says, represents Menelaus's "fleet of a thousand ships" with which he left to rescue Helen in Troy. I know that the Moon Bus design underwent significant evolution during production (the feet were originally catipillar-like belts)and it only became the version we see on the screen very late in pre-production.
That said, this is still an astounding work. My frustration comes in that I do not posess Mr. Wheat's powers of analysis and observation. Everything fits into his logical framework, and when I come across something, like my example above, that seems like he's gone too far, I can't dispute it logically. I would highly reccomend this book for anyone still curious as to "what it all means."
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