Editing Stanley Kubrick (section)

=== Science fiction (1965–1971) ===
==== ''2001: A Space Odyssey'' ====
Kubrick spent five years developing his next film, ''[[2001: A Space Odyssey (film)|2001: A Space Odyssey]]'' (1968), having been highly impressed with science fiction writer [[Arthur C. Clarke]]'s novel ''[[Childhood's End]]'', about a superior alien race who assist mankind in eliminating their old selves. After meeting Clarke in New York City in April 1964, Kubrick made the suggestion to work on his 1948 short story "[[The Sentinel (short story)|The Sentinel]]", in which a monolith  found on the Moon alerts aliens of mankind.{{sfnm|1a1=Baxter|1y=1997|1p=205|2a1=Duncan|2y=2003|2p=105}} That year, Clarke began writing the novel ''[[2001: A Space Odyssey (novel)|2001: A Space Odyssey]]'' and collaborated with Kubrick on a screenplay. The film's theme, the birthing of one intelligence by another, is developed in two parallel intersecting stories on two different time scales. One depicts evolutionary transitions between various stages of man, from ape to "star child", as man is reborn into a new existence, each step shepherded by an enigmatic alien intelligence seen only in its artifacts: a series of seemingly indestructible eons-old black monoliths. In space, the enemy is a supercomputer known as [[HAL 9000|HAL]] who runs the spaceship, a character which novelist [[Clancy Sigal]] described as being "far, far more human, more humorous and conceivably decent than anything else that may emerge from this far-seeing enterprise".{{sfn|Baxter|1997|p=208}}{{efn|Several commentators have speculated that HAL is a slur on IBM, with the letters alphabetically falling before it, and point out that Kubrick inspected the IBM 7090 during ''Dr Strangelove''. Both Kubrick and Clarke denied this, and insist that HAL means "Heuristically Programmed Algorithmic Computer".{{sfn|Baxter|1997|pp=214–5}}}}

Kubrick intensively researched for the film, paying particular attention to accuracy and detail in what the future might look like. He was granted permission by [[NASA]] to observe the spacecraft being used in the [[Ranger 9]] mission for accuracy.{{sfn|Duncan|2003|p=113}} Filming commenced on December 29, 1965, with the excavation of the monolith on the moon,{{sfn|Duncan|2003|p=117}} and footage was shot in [[Namib Desert]] in early 1967, with the ape scenes completed later that year. The special effects team continued working until the end of the year to complete the film, taking the cost to $10.5 million.{{sfn|Duncan|2003|p=117}} ''2001: A Space Odyssey'' was conceived as a [[Cinerama]] spectacle and was photographed in [[Super Panavision 70]], giving the viewer a "dazzling mix of imagination and science" through ground-breaking effects, which earned Kubrick his only personal Oscar, an [[Academy Award for Visual Effects]].{{sfn|Duncan|2003|p=117}}{{Efn|Biographer John Baxter quotes Ken Adam as saying that Kubrick was not responsible for most of the effects, and that Wally Veevers was the man behind about 85% of them in film. Baxter notes that none of the film's technical team resented Kubrick taking sole credit, as "it was Kubrick's vision which appeared on the screen".{{sfn|Baxter|1997|pp=224, 235}}}} Kubrick said of the concept of the film in an interview with ''[[Rolling Stone]]'': "On the deepest psychological level, the film's plot symbolized the search for God, and finally postulates what is little less than a scientific definition of God. The film revolves around this metaphysical conception, and the realistic hardware and the documentary feelings about everything were necessary in order to undermine your built-in resistance to the poetical concept".{{sfn|LoBrutto|1999|p=313}}

Upon release in 1968, ''2001: A Space Odyssey'' was not an immediate hit among critics, who faulted its lack of dialog, slow pacing, and seemingly impenetrable storyline.{{sfnm|1a1=Baxter|1y=1997|1p=231|2a1=LoBrutto|2y=1999|2p=314}} The film appeared to defy genre convention, much unlike any science-fiction movie before it,{{sfn|Schneider|2012|p=492}} and clearly different from any of Kubrick's earlier works. Kubrick was particularly outraged by a scathing review from [[Pauline Kael]], who called it "the biggest amateur movie of them all", with Kubrick doing "really every dumb thing he ever wanted to do".{{sfn|LoBrutto|1999|p=312}} Despite mixed contemporary critical reviews, ''2001'' gradually gained popularity and earned $31 million worldwide by the end of 1972.{{sfn|Duncan|2003|p=117}}{{efn|This made the film one of the five most successful MGM films at the time along with ''[[Gone with the Wind (film)|Gone With the Wind]]'' (1939), ''[[The Wizard of Oz (1939 film)|The Wizard of Oz]]'' (1939), and ''[[Doctor Zhivago (film)|Doctor Zhivago]]'' (1965).{{sfn|LoBrutto|1999|p=316}}}} Today, it is widely considered to be one of [[List of films considered the best|the greatest and most influential films ever made]] and is a staple on All Time Top 10 lists.<ref name="BFITop10">[[#BFITop10|British Film Institute]]. Online at: [https://web.archive.org/web/20110513073130/http://www.bfi.org.uk/sightandsound/topten/poll/critics.html BFI Critic's Top Ten Poll].</ref><ref name="AFITop10">[[#AFITop10|American Film Institute.]] Online: [http://www.afi.com/10top10/scifi.html AFI's 10 Top 10] {{webarchive|url=https://web.archive.org/web/20120312075056/http://www.afi.com/10TOP10/scifi.html |date=March 12, 2012 }}</ref> Baxter describes the film as "one of the most admired and discussed creations in the history of cinema",{{sfn|Baxter|1997|p=220}} and [[Steven Spielberg]] has referred to it as "the big bang of his film making generation".{{sfn|Carr|2002|p=1}} For biographer Vincent LoBrutto it "positioned Stanley Kubrick as a pure artist ranked among the masters of cinema".{{sfn|LoBrutto|1999|p=320}} The film marked Kubrick's first use of classical music. [[Roger Ebert]] writes: "Although Kubrick originally commissioned an original score from [[Alex North]], he used classical recordings as a temporary track while editing the film, and they worked so well that he kept them. This was a crucial decision. North's score, which is available on a recording, is a good job of film composition, but would have been wrong for ''2001'' because, like all scores, it attempts to underline the action -- to give us emotional cues. The classical music chosen by Kubrick exists outside the action. It uplifts. It wants to be sublime; it brings a seriousness and transcendence to the visuals", citing Kubrick's use of  [[Johann Strauss II]]'s "[[The Blue Danube]]" and [[Richard Strauss]]'s ''[[Also sprach Zarathustra]]''.<ref>{{cite news| last=Ebert| first=Roger| title=Great Movies: 2001: A Space Odyssey| work=[[Chicago Sun-Times]]| date=March 27, 1997| url= https://www.rogerebert.com/reviews/great-movie-2001-a-space-odyssey-1968}}</ref>

==== ''A Clockwork Orange'' ====
[[File:HermanRockingMachinebyFiona.jpg|thumb|left|An example of the erotica from ''[[A Clockwork Orange (film)|A Clockwork Orange]]'' (1971)]]

After completing ''2001: A Space Odyssey'', Kubrick searched for a project that he could film quickly on a more modest budget. He settled on ''[[A Clockwork Orange (film)|A Clockwork Orange]]'' (1971) at the end of 1969, an exploration of violence and experimental rehabilitation by law enforcement authorities, based around the character of [[Alex (A Clockwork Orange)|Alex]] (portrayed by [[Malcolm McDowell]]). Kubrick had received a copy of [[Anthony Burgess]]'s [[A Clockwork Orange (novel)|novel of the same name]] from Terry Southern while they were working on ''Dr. Strangelove'', but had rejected it on the grounds that [[Nadsat]],{{Efn|The name is derived from the Russian suffix for "teen"}} a street language for young teenagers, was too difficult to comprehend. The decision to make a film about the degeneration of youth reflected contemporary concerns in 1969; the [[New Hollywood]] movement was creating a great number of films that depicted the sexuality and rebelliousness of young people.{{sfn|Baxter|1997|p=243}} ''A Clockwork Orange'' was shot over 1970–1971 on a budget of £2 million.{{sfn|Duncan|2003|p=129}} Kubrick abandoned his use of CinemaScope in filming, deciding that the 1.66:1 widescreen format was, in the words of Baxter, an "acceptable compromise between spectacle and intimacy", and favored his "rigorously symmetrical framing", which "increased the beauty of his compositions".{{sfn|Baxter|1997|p=252}} The film heavily features "pop erotica" of the period, including a large white plastic set of male genitals, decor which Kubrick had intended to give it a "slightly futuristic" look.{{sfn|Baxter|1997|pp=250, 254}} McDowell's role in [[Lindsay Anderson]]'s ''[[if....]]'' (1968) was crucial to his casting as Alex,{{efn|Kubrick had been impressed with his ability to "shift from schoolboy innocence to insolence and, if needed, violence".{{sfn|Baxter|1997|pp=246–7}}}} and Kubrick professed that he probably would not have made the film if McDowell had been unavailable.{{sfn|Baxter|1997|p=247}} The film marked Kubrick's first collaboration with [[Wendy Carlos]], who provided electronic renditions of [[Henry Purcell]]'s ''[[Music for the Funeral of Queen Mary]]'' and [[Beethoven]]'s "[[Ode to Joy]]".<ref>{{cite news| title='She made music jump into 3D': Wendy Carlos, the reclusive synth genius| last=Rogers| first=Jude| date=November 11, 2020| work=The Guardian| url=https://www.theguardian.com/music/2020/nov/11/she-made-music-jump-into-3d-wendy-carlos-the-reclusive-synth-genius}}</ref>

<!-- Deleted image removed: [[File:Stanley Kubrick - WB promo.jpg|right|thumb|Kubrick in a publicity photo for ''[[A Clockwork Orange (film)|A Clockwork Orange]]'', 1971]] -->
Because of its depiction of teenage violence, ''A Clockwork Orange'' became one of the most controversial films of its time, and part of an ongoing debate about violence and its glorification in cinema. It received an [[X rating]], or certificate, in both the UK and US, on its release just before Christmas 1971, though many critics saw much of the violence depicted in the film as satirical, and less violent than ''[[Straw Dogs (1971 film)|Straw Dogs]]'', which had been released a month earlier.{{sfn|Baxter|1997|pp=255, 264–65}} Kubrick personally pulled the film from release in the United Kingdom after receiving death threats following a series of copycat crimes based on the film; it was thus completely unavailable legally in the UK until after Kubrick's death, and not re-released until 2000.{{Sfn|Webster|2010|p=86}}{{Efn|Despite this, Kubrick disagreed with many of the scathing press reports in British media in the early 1970s that the film could transform a person into a criminal, and argued that "violent crime is invariably committed by people with a long record of anti-social behavior".{{Sfn|Ciment|1980|pp=162–63}}}} [[John Trevelyan (censor)|John Trevelyan]], the censor of the film, personally considered ''A Clockwork Orange'' to be "perhaps the most brilliant piece of cinematic art I've ever seen," and believed it to present an "intellectual argument rather than a sadistic spectacle" in its depiction of violence, but acknowledged that many would not agree.{{Sfn|Baxter|1997|p=265}} Negative media hype over the film notwithstanding, ''A Clockwork Orange'' received four Academy Award nominations, for Best Picture, Best Director, Best Screenplay and Best Editing, and was named by the [[New York Film Critics Circle]] as the Best Film of 1971.{{sfn|Baxter|1997|p=270}} After [[William Friedkin]] won Best Director for ''[[The French Connection (film)|The French Connection]]'' that year, he told the press: "Speaking personally, I think Stanley Kubrick is the best American film-maker of the year. In fact, not just this year, but the best, period."{{sfn|Baxter|1997|p=271}}