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2001: A Space Odyssey/A Clockwork Orange/The Shining (Blu-ray Disc) (Enhanced Widescreen for 16x9 TV) (Eng/Fre/Spa)
- SKU: 6934328
- Release Date: 11/13/2012
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Ratings & Reviews
Special Features
- 2001: A Space Odyssey features:
- Channel four documentary 2001: The Making of a Myth
- 4 insightful featurettes
- A Clockwork Orange features:
- Channel four documentary Still Tickin': The Return of Clockwork Orange
- The Shining features:
- Commentary by steadicam inventor/operator Garrett Brown and historian John Baxter
Synopsis
Includes:2001: A Space Odyssey (1968), MPAA Rating: G
A Clockwork Orange (1971), MPAA Rating: R
The Shining (1980), MPAA Rating: R
2001: A Space Odyssey
A mind-bending sci-fi symphony, Stanley Kubrick's landmark 1968 epic pushed the limits of narrative and special effects toward a meditation on technology and humanity. Based on Arthur C. Clarke's story The Sentinel, Kubrick and Clarke's screenplay is structured in four movements. At the "Dawn of Man," a group of hominids encounters a mysterious black monolith alien to their surroundings. To the strains of Strauss's 1896 Also sprach Zarathustra, a hominid invents the first weapon, using a bone to kill prey. As the hominid tosses the bone in the air, Kubrick cuts to a 21st century spacecraft hovering over the Earth, skipping ahead millions of years in technological development. U.S. scientist Dr. Heywood Floyd (William Sylvester) travels to the moon to check out the discovery of a strange object on the moon's surface: a black monolith. As the sun's rays strike the stone, however, it emits a piercing, deafening sound that fills the investigators' headphones and stops them in their path. Cutting ahead 18 months, impassive astronauts David Bowman (Keir Dullea) and Frank Poole (Gary Lockwood) head toward Jupiter on the spaceship Discovery, their only company three hibernating astronauts and the vocal, man-made HAL 9000 computer running the entire ship. When the all-too-human HAL malfunctions, however, he tries to murder the astronauts to cover his error, forcing Bowman to defend himself the only way he can. Free of HAL, and finally informed of the voyage's purpose by a recording from Floyd, Bowman journeys to "Jupiter and Beyond the Infinite," through the psychedelic slit-scan star-gate to an 18th century room, and the completion of the monolith's evolutionary mission. With assistance from special-effects expert Douglas Trumbull, Kubrick spent over two years meticulously creating the most "realistic" depictions of outer space ever seen, greatly advancing cinematic technology for a story expressing grave doubts about technology itself. Despite some initial critical reservations that it was too long and too dull, 2001 became one of the most popular films of 1968, underlining the generation gap between young moviegoers who wanted to see something new and challenging and oldsters who "didn't get it." Provocatively billed as "the ultimate trip," 2001 quickly caught on with a counterculture youth audience open to a contemplative (i.e. chemically enhanced) viewing experience of a film suggesting that the way to enlightenment was to free one's mind of the U.S. military-industrial-technological complex. ~ Lucia Bozzola, Rovi
A Clockwork Orange
Stanley Kubrick dissects the nature of violence in this darkly ironic, near-future satire, adapted from Anthony Burgess's novel, complete with "Nadsat" slang. Classical music-loving proto-punk Alex (Malcolm McDowell) and his "Droogs" spend their nights getting high at the Korova Milkbar before embarking on "a little of the old ultraviolence," such as terrorizing a writer, Mr. Alexander (Patrick Magee), and gang raping his wife (who later dies as a result). After Alex is jailed for bludgeoning the Cat Lady (Miriam Karlin) to death with one of her phallic sculptures, Alex submits to the Ludovico behavior modification technique to earn his freedom; he's conditioned to abhor violence through watching gory movies, and even his adored Beethoven is turned against him. Returned to the world defenseless, Alex becomes the victim of his prior victims, with Mr. Alexander using Beethoven's Ninth to inflict the greatest pain of all. When society sees what the state has done to Alex, however, the politically expedient move is made. Casting a coldly pessimistic view on the then-future of the late '70s-early '80s, Kubrick and production designer John Barry created a world of high-tech cultural decay, mixing old details like bowler hats with bizarrely alienating "new" environments like the Milkbar. Alex's violence is horrific, yet it is an aesthetically calculated fact of his existence; his charisma makes the icily clinical Ludovico treatment seem more negatively abusive than positively therapeutic. Alex may be a sadist, but the state's autocratic control is another violent act, rather than a solution. Released in late 1971 (within weeks of Sam Peckinpah's brutally violent Straw Dogs), the film sparked considerable controversy in the U.S. with its X-rated violence; after copycat crimes in England, Kubrick withdrew the film from British distribution until after his death. Opinion was divided on the meaning of Kubrick's detached view of this shocking future, but, whether the discord drew the curious or Kubrick's scathing diagnosis spoke to the chaotic cultural moment, A Clockwork Orange became a hit. On the heels of New York Film Critics Circle awards as Best Film, Best Director, and Best Screenplay, Kubrick received Oscar nominations in all three categories. ~ Lucia Bozzola, Rovi
The Shining
"All work and no play makes Jack a dull boy" -- or, rather, a homicidal boy in Stanley Kubrick's eerie 1980 adaptation of Stephen King's horror novel. With wife Wendy (Shelley Duvall) and psychic son Danny (Danny Lloyd) in tow, frustrated writer Jack Torrance (Jack Nicholson) takes a job as the winter caretaker at the opulently ominous, mountain-locked Overlook Hotel so that he can write in peace. Before the Overlook is vacated for the Torrances, the manager (Barry Nelson) informs Jack that a previous caretaker went crazy and slaughtered his family; Jack thinks it's no problem, but Danny's "shining" hints otherwise. Settling into their routine, Danny cruises through the empty corridors on his Big Wheel and plays in the topiary maze with Wendy, while Jack sets up shop in a cavernous lounge with strict orders not to be disturbed. Danny's alter ego, "Tony," however, starts warning of "redrum" as Danny is plagued by more blood-soaked visions of the past, and a blocked Jack starts visiting the hotel bar for a few visions of his own. Frightened by her husband's behavior and Danny's visit to the forbidding Room 237, Wendy soon discovers what Jack has really been doing in his study all day, and what the hotel has done to Jack. ~ Lucia Bozzola, Rovi
2001: A Space Odyssey
A mind-bending sci-fi symphony, Stanley Kubrick's landmark 1968 epic pushed the limits of narrative and special effects toward a meditation on technology and humanity. Based on Arthur C. Clarke's story The Sentinel, Kubrick and Clarke's screenplay is structured in four movements. At the "Dawn of Man," a group of hominids encounters a mysterious black monolith alien to their surroundings. To the strains of Strauss's 1896 Also sprach Zarathustra, a hominid invents the first weapon, using a bone to kill prey. As the hominid tosses the bone in the air, Kubrick cuts to a 21st century spacecraft hovering over the Earth, skipping ahead millions of years in technological development. U.S. scientist Dr. Heywood Floyd (William Sylvester) travels to the moon to check out the discovery of a strange object on the moon's surface: a black monolith. As the sun's rays strike the stone, however, it emits a piercing, deafening sound that fills the investigators' headphones and stops them in their path. Cutting ahead 18 months, impassive astronauts David Bowman (Keir Dullea) and Frank Poole (Gary Lockwood) head toward Jupiter on the spaceship Discovery, their only company three hibernating astronauts and the vocal, man-made HAL 9000 computer running the entire ship. When the all-too-human HAL malfunctions, however, he tries to murder the astronauts to cover his error, forcing Bowman to defend himself the only way he can. Free of HAL, and finally informed of the voyage's purpose by a recording from Floyd, Bowman journeys to "Jupiter and Beyond the Infinite," through the psychedelic slit-scan star-gate to an 18th century room, and the completion of the monolith's evolutionary mission. With assistance from special-effects expert Douglas Trumbull, Kubrick spent over two years meticulously creating the most "realistic" depictions of outer space ever seen, greatly advancing cinematic technology for a story expressing grave doubts about technology itself. Despite some initial critical reservations that it was too long and too dull, 2001 became one of the most popular films of 1968, underlining the generation gap between young moviegoers who wanted to see something new and challenging and oldsters who "didn't get it." Provocatively billed as "the ultimate trip," 2001 quickly caught on with a counterculture youth audience open to a contemplative (i.e. chemically enhanced) viewing experience of a film suggesting that the way to enlightenment was to free one's mind of the U.S. military-industrial-technological complex. ~ Lucia Bozzola, Rovi
A Clockwork Orange
Stanley Kubrick dissects the nature of violence in this darkly ironic, near-future satire, adapted from Anthony Burgess's novel, complete with "Nadsat" slang. Classical music-loving proto-punk Alex (Malcolm McDowell) and his "Droogs" spend their nights getting high at the Korova Milkbar before embarking on "a little of the old ultraviolence," such as terrorizing a writer, Mr. Alexander (Patrick Magee), and gang raping his wife (who later dies as a result). After Alex is jailed for bludgeoning the Cat Lady (Miriam Karlin) to death with one of her phallic sculptures, Alex submits to the Ludovico behavior modification technique to earn his freedom; he's conditioned to abhor violence through watching gory movies, and even his adored Beethoven is turned against him. Returned to the world defenseless, Alex becomes the victim of his prior victims, with Mr. Alexander using Beethoven's Ninth to inflict the greatest pain of all. When society sees what the state has done to Alex, however, the politically expedient move is made. Casting a coldly pessimistic view on the then-future of the late '70s-early '80s, Kubrick and production designer John Barry created a world of high-tech cultural decay, mixing old details like bowler hats with bizarrely alienating "new" environments like the Milkbar. Alex's violence is horrific, yet it is an aesthetically calculated fact of his existence; his charisma makes the icily clinical Ludovico treatment seem more negatively abusive than positively therapeutic. Alex may be a sadist, but the state's autocratic control is another violent act, rather than a solution. Released in late 1971 (within weeks of Sam Peckinpah's brutally violent Straw Dogs), the film sparked considerable controversy in the U.S. with its X-rated violence; after copycat crimes in England, Kubrick withdrew the film from British distribution until after his death. Opinion was divided on the meaning of Kubrick's detached view of this shocking future, but, whether the discord drew the curious or Kubrick's scathing diagnosis spoke to the chaotic cultural moment, A Clockwork Orange became a hit. On the heels of New York Film Critics Circle awards as Best Film, Best Director, and Best Screenplay, Kubrick received Oscar nominations in all three categories. ~ Lucia Bozzola, Rovi
The Shining
"All work and no play makes Jack a dull boy" -- or, rather, a homicidal boy in Stanley Kubrick's eerie 1980 adaptation of Stephen King's horror novel. With wife Wendy (Shelley Duvall) and psychic son Danny (Danny Lloyd) in tow, frustrated writer Jack Torrance (Jack Nicholson) takes a job as the winter caretaker at the opulently ominous, mountain-locked Overlook Hotel so that he can write in peace. Before the Overlook is vacated for the Torrances, the manager (Barry Nelson) informs Jack that a previous caretaker went crazy and slaughtered his family; Jack thinks it's no problem, but Danny's "shining" hints otherwise. Settling into their routine, Danny cruises through the empty corridors on his Big Wheel and plays in the topiary maze with Wendy, while Jack sets up shop in a cavernous lounge with strict orders not to be disturbed. Danny's alter ego, "Tony," however, starts warning of "redrum" as Danny is plagued by more blood-soaked visions of the past, and a blocked Jack starts visiting the hotel bar for a few visions of his own. Frightened by her husband's behavior and Danny's visit to the forbidding Room 237, Wendy soon discovers what Jack has really been doing in his study all day, and what the hotel has done to Jack. ~ Lucia Bozzola, Rovi
Cast & Crew
- Jack Nicholson - Jack Torrance
- Shelley Duvall - Wendy Torrance
- Danny Lloyd - Danny Torrance
- Scatman Crothers - Dick Hallorann
- Barry Nelson - Ullman