A Critical Reappraisal of ‘2010: The Year We Make Contact’

Introduction:

Set in the wake of the iconic ‘2001: A Space Odyssey,’ Stanley Kubrick’s 2010: The Year We Make Contact is a film that stands both as a tribute and a commentary on its predecessor. Directed by Peter Hyams, the sequel navigates a universe that has evolved yet remains shrouded in the same enigma as its predecessor. This analysis delves into the merits and limitations of the film, providing a critical perspective on its artistic and technical achievements.

Adaptation and Style:

What makes 2010 stand out is its faithful adherence to the spirit of 2001, despite being produced during the heyday of blockbuster epics like Star Wars and Star Trek. Hyams skillfully avoided the temptation to entrench itself in the tropes of these films, instead opting for an air of ambivalence. The opening sequence, where Max and Kurnow land on the spinning baton and navigate the habitation sphere, sets the tone with a tense and thrilling feel. The on-board radio dialogue and evocative score create a sense of suffocating tension, effectively transporting the audience into the film's world.

Technical and Acting Consistency:

Technically, 2010 suffers in comparison to 2001. A few scenes stand out as notably less polished, particularly in the handling of zero gravity. Floyd’s boarding sequence, for instance, contains an error—an improvisation that seems out of place when compared to the meticulousness of Kubrick's work in 2001. The casting of the same actor, Keir Dullea, to portray both Dave Bowman and his younger self introduces an inconsistency that detracts from the film's otherwise strong performances. Dullea’s nuanced acting, however, bridges the gap between his roles, averting a complete disconnect.

Directional Depth:

Despite its technical flaws, 2010 benefits from Peter Hyams' reputation for crafting smart science-fiction thrillers. Hyams has a commendable body of work, highlighted by the paranoid conspiracy film 'Capricorn One' and 'Outland,' a gritty cop thriller. These earlier works showcase Hyams' expertise in blending science fiction with suspense and a sense of realism, which 2010 similarly employs. The film’s ensemble cast further enhances its appeal, with Helen Mirren delivering a stolid and commanding performance as the leader of the expedition aboard the Leonov. Her background as a descendant of Russian aristocrats adds a layer of aristocratic poise to her portrayal, enhancing the film’s depth.

Concluding Remarks:

While 2010 may not achieve the visionary heights of 2001, it remains an enjoyable and thought-provoking film. The absence of extraneous romantic subplot, coupled with a suitably uplifting finale, underscores the film's focused narrative. Its legacy as a minor yet significant entry in the science fiction canon is appreciable, especially in its handling of technology and human emotion. A worthy watch, 2010 is best appreciated in the context of 2001, allowing the audience to draw connections and appreciate the growth in the series.

Trivia:

For those interested in the film's cast: the actress playing Dave Bowman's wife is Mary Jo Deschanel, mother of Zooey Deschanel and her siblings. The Russian crewmember Irina Yakunina, played by Natasha Shneider, was of particular note for her role in Soundgarden's ‘Fresh Tendrils’ on their album ‘Superunknown.’ Shneider's early death from cancer in 2008 left a lasting impact on the music community.