Film Analysis (2001: A Space Odyssey | Goodfellas) [Part 8]

Conclusion

2001: A Space Odyssey is told using a linear narrative, typical of the sci-fi genre, with several flash-forwards, sometimes spanning millions of years. Conversely, Goodfellas is told using a predominantly non-linear narrative, characteristic of ganger films, which provides space for several different sub-plots within the narrative to unfold. The film opens in the middle of Henry’s story, but then contains many flash-forwards, similar to 2001. Both undergo many versions of Todorov’s theory, as both films have several smaller plotlines within their respective narrative. Goodfellas is told using dialogue and extensive narration, whilst 2001 is told using limited dialogue and visual cues.

The mise-en-scene is very different between the two films. 2001: A Space Odyssey uses predominantly sci-fi settings (codes) such as the Moon, where Dr. Heywood Floyd discovers the second monolith, or the rotating wheel space station, Space Station 5. Goodfellas is set exclusively on the familiar Earth, specifically in the suburbs of 50s-70s New York. The world may have changed around them, but in the microclimate of these suburbs, the world changes very slowly. For example, the introduction of the mass dealing of cocaine led to a split within the organisation, between the older and younger members, where the griseous member (Paulie) is strongly opposed to it, and the young members cannot see the problems inherent in its distribution. The over-abundance of dialogue in Goodfellas is contrasted by its deficit in 2001. Whilst in Goodfellas, we have many characters, all with distinct and detailed backstories, in 2001, throughout all four movements, there is not a singular character with the same amount of backstory or clear motivation. Characters in 2001 are purposefully hollow and unimportant in comparison to the overarching narrative: ‘moonwatcher’ only got their name because they looked at the moon, Dr. Heywood Floyd has the most backstory, having a wife and a child whom he interacts with via videophone, but it is unclear as to whether he actually cares for them, as he is very matter-of-fact, and Dr. David Bowman is very difficult to read and consistently falls short of our expectations.

Cinematography varies greatly between Goodfellas and 2001 due to the dissimilitude of locations. Wide shots are utilised liberally (in my chosen scenes) to emphasise the large scale of all the interconnected parts of the operation within a small neighbourhood in the former (Goodfellas) and the cold abyss of space in the latter (2001). Dominance is often exhibited through the use of low angle shots in both. However, this is only the case half of the time during my chosen scene in 2001 as, when HAL has the upper hand before Bowman enters the ship, HAL’s eye is not at a greater angle: it is still parallel to the camera.

Lighting is also manifestly different between the two films; my chosen scene from Goodfellas uses chiefly natural light, with practical, low-key, lights used in darker settings to emphasise the shady nature of the segment, in addition to a few non-practical lights used deliberately and to achieve a specific effect: whilst almost all lighting in 2001 is artificial, emanating from several sources, and predominantly red and white to emphasise aggression or neutrality, respectively, proverbial in most sci-fi films produced since.

Sound, or lack thereof, is perhaps most cardinal to both films. Music choices are non-diegetic and parallel to the on-screen action and form, or highlight, a particular concept or convention: such as the wealth and power of a Mafia family in Goodfellas or the dichotomy between the elegance and sophistication of Homo Sapiens’ new and more advanced tools and their potential use for brutality (viz., the orbiting nuclear satellite, seen in the graphic match cut) in the second, unnamed, part of 2001. The similarities between the two films end there, however. 2001 uses the absence of any sound to create tension: whilst, due to its unabating pace, Goodfellas barely has any scenes without several overlapping sounds (music, narration, diegetic sounds, etc.), all playing at once.

Non-linear editing is eminently important to the narrative of Goodfellas: with extensive narration, freeze-frames, many different locales and straight quick cuts to convey, according to Scorsese, a “punk attitude” to gangster films. Both of my chosen scenes from Goodfellas and 2001 use linear editing but also break some continuity editing rules, such as matching eyelines, to achieve a specific effect; for instance: establishing dominance within interpersonal relationships. My chosen scene from 2001, unlike Goodfellas, has more of a variety of shot types in the edit and features no elements of non-continuity.