Universe (Roman Kroitor and Colin Low, 1960) and In the Labyrinth (Roman Kroitor, Colin Low, and Hugh O’Connor, 1967)

NFBAside from being an astonishingly effective and expertly depicted journey through space, Roman Kroitor and Colin Low’s Universe (1960) is probably most celebrated for its connection to Stanley Kubrick and 2001: A Space Odyssey (1968).  This Oscar-nominated and BAFTA-winning short was a revelation to Kubrick, who purportedly watched nearly every space movie made to that point in preparation for 2001Universe proved that it was possible to depict outer space with complete realism, and Kubrick hired the short’s special effects technician Wally Gentleman as an uncredited special effects supervisor and cast Universe‘s narrator Douglas Rain as the voice of the HAL 9000.  Colin Low was also invited by Kubrick to work on 2001, but the director turned down the offer to work with Roman Kroitor and Hugh O’Connor on the multi-screen documentary collage film, In the Labyrinth (1967), for Expo 67 in Montreal.  In the Labyrinth served as a precursor to the IMAX format developed in part by Kroitor, and the film’s content anticipates the immersive travelogues and spectacular anthropologies of films like Godfrey Reggio’s Qatsi Trilogy (1983, 1988, and 2002) and Ron Fricke’s Baraka (1992) and Samsara (2011), although Labyrinth proves even more daring in its formal construction.  A link to In the Labyrinth is included below.

As per the NFB:

A triumph of film art, creating on the screen a vast, awe-inspiring picture of the universe as it would appear to a voyager in space, this film was among the sources used in his 2001: A Space Odyssey.  Realistic animation takes you into far regions of space, beyond the reach of the strongest telescope, past Moon, Sun, and Milky Way into galaxies yet unfathomed.

Click here to watch In the Labyrinth on the NFB website!

In the LabyrinthAs per the NFB:

A film without commentary in which multiple images, sometimes complimentary, sometimes contrasting, draw the viewer through the different stages of a labyrinth.  The tone of the film moves from great joy to wrenching sorrow; from stark simplicity to ceremonial pomp.  It is life as it is lived by the people of the world, each one, as the film suggests, in a personal labyrinth.

In the Labyrinth was first released as a multi-screen presentation for Chamber III of the Labyrinth at Expo 67.  These separate images were integrated into a single strand of film, using a “five-on-one” cinematic technique.

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