Much like 2022's The Batman or the Scorcese film Killers of the Flower Moon, movie adaptations of printed material will usually feature a multitude of changes. However, 2001: A Space Odyssey is a different case, as director Stanley Kubrick and science fiction author Arthur C. Clarke actually collaborated on the blueprint of the story together before diverging into their own tales.
The project was conceived by Kubrick, who ed Clarke to help him in the hopes of creating a science fiction film that was objectively good and free of cheesy cliches, which is documented in The Making of Kubrick's 2001 written by Jerome Agel. So, the pair got to work together on what became the bare bones of 2001: A Space Odyssey. Therefore, it may be surprising that there are as many important differences between the two mediums despite the shared history.
The Man-Ape Colony Scene Differs From Book To Movie
In both Clarke's book and Kubrick's film, the iconic beginning scene of 2001: A Space Odyssey revolves around a man-ape colony. However, in Clarke's version, the ape colony is given more detail and explained. The head ape even has a name in the book: Moon-Watcher. Moon-Watcher's POV is shown, giving the reader more information about the character as well as about the Man-Ape Prehistoric society.
Hypnotized by the vibrating monolith, Moon-Watcher ties the first knot ever with a blade of grass, and tools are developed that are used to hunt and eventually kill a rival. Clarke describes that the Apes' minds are being studied, probed, and controlled by the monolith.
The Monolith Looks Different
As Kubrick paid careful attention to aesthetics, he needed to have a monolith that photographed well, and the monolith's description in the book would not translate well onto the big screen. In the book, the monolith is described as having a size ratio of 1:4:9 and made of a transparent crystal.
The monolith appearance is smaller in the book, as the ratio described would amount to a thick, wide, and squat structure. In Kubrick's version, the monolith appearance was made bigger to appear more imposing on-screen, given a tall and thin shape and a black matte finish, as discussed in a Far Out article.
The Purpose Of The Monolith Is More Clearly Defined In The Book
The objective of the monolith is stated in the book to be the method an alien civilization uses to gain information about other civilizations while also encouraging the development of intelligent life.
Ergo, the reason the Man-Apes are able to develop tools and go from a foraging society to a hunter-gatherer society after the appearance of the monolith. Yet, in the movie, it is never explicitly revealed what the monolith does or what it is.
The Book Does Not Jump From The Prehistoric Era To The 21st Century
The history of human civilization is put on display in Clarke's book, following from prehistoric man and detailing the changes the Sapien species has undergone with the age of time. This part of the book is more in line with a science textbook, as Clarke writes of the evolutionary and physiological changes that the Sapiens have undergone to enable speech and higher functioning.
The evolution of weapons made by man is explained, along with the theory that as man has developed stronger weapons, it has enabled them to rule the world. However, given the heightened danger brought on by each advancement in weaponry, humans are living on borrowed time. In the film, this section of the book is nonexistent, jumping from the prehistoric era to 2001.
The Destination Planet Is Different
In the book, the space crew is supposed to be traveling to the planet of Saturn. Yet, in the movie, the destination is Jupiter. The change from Saturn to Jupiter was Kubrick's decision, as he and his head of special effects were unsure of how to create a realistic model of the rings of Saturn, as told in a Starlog Magazine article.
Viewers should keep in mind, though, that all the effects in the movie, including the highly realistic depiction of outer space, were practical effects (i,e.: models, in-camera effects). In other words, no CGI whatsoever. As a result, in order to keep up with the accurate representation of space, the destination planet was changed to one that would be easier to replicate. As a result, the film's special effects still hold up today.
Poole & Bowman's Response To HAL's Mistake Differs
In both the novel and movie, HAL 9000 foretells that there is a 100 percent likelihood of satellite failure. HAL's prediction turns out to be wrong, which causes Bowman and Poole to question HAL's efficacy. However, the way Poole and Bowman handle HAL's mistake differs from book to movie. In the book, Bowman and Poole respectfully discuss the mistake in front of HAL and treat HAL as a colleague when discussing the snafu.
In contrast, in the movie, Bowman and Poole meet in private to discuss HAL, except it is revealed that HAL is able to read lips, so Bowman and Poole plan to unplug HAL. This change for the film was most likely done as a way to create suspense and suspicion toward HAL in the audience.
HAL's Failure Is Explained In The Novel
HAL's incorrect prediction of satellite failure perplexes everyone involved, causing tensions between HAL, Bowman, and Poole. In the film, the reason behind HAL's mistake is never explained and is left ambiguous for the audience to wonder about.
Yet, in the book, the cause of HAL's failure is described, ensuring no questions as to what went wrong for HAL to give a false prediction. HAL has a malfunction, as the A. I had been ordered to lie about the purpose of the mission, but his job as a computer is to always provide accurate information, causing an internal conflict similar to what would be psychosis in a human.
The Endings Are Different
Arguably one of the most famous scenes of 2001: A Space Odyssey, the film concludes with Bowman pulled into a vortex, traveling through spaces of colorful cosmological prisms until he lands in an ornate room. In the room, Bowman encounters himself at different ages. At the foot of the bed, a monolith appears and when Bowman reaches for it, a fetus floating in space beside the Earth is shown.
However, in the book, Bowman enters an unknown star system where he sees an interstellar switching station, spaceships, ruins of ancient civilizations, and life forms living on a binary star system's planet. In a hotel suite, Bowman falls asleep and wakes up to become an immortal "star child" who can live and travel through space. The book's final scene shows Bowman, now Star Child, returning to Earth and detonating a nuclear warhead.
The Themes Of 2001: A Space Odyssey Are Glossed Over In The Film
2001, the book, has many lofty science fiction themes. Clarke expunged on the themes of evolution, space exploration, artificial intelligence, the experience/technologies of space travel, and the perils of nuclear war and technology. Meanwhile, in the film that is often regarded as Kubrick's best, most of the themes in the novel are actually touched upon.
However, the themes from the novel are portrayed in the movie either ambiguously (evolution, perils of technology), not given much detail on (the experience/technologies of space travel, artificial intelligence, space exploration), or ignored altogether (perils of nuclear war).
The Book Has A Linear Narrative Structure While The Movie Is More Cryptic
The book gives clear explanations of the characters, events, and technologies portrayed. Even the orbital mechanics of space travel are explained, giving the reader a deep understanding of the accouterments of the story to make 2001: A Space Odyssey feel fleshed out and real. Further, the novel has a traditional narrative structure with dialogue and exposition.
In contrast, the film has less of a narrative structure and acts as a visual experience. As told in the book The Film Director As Superstar, Kubrick's film is less concerned with telling the story cerebrally but rather emotionally as Kubick wanted the nonverbal visual experience of the movie to hit the viewer's inner consciousness akin to music or a painting.
