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 Solyaris [Solaris] 

What grade would you give this film?
A 67%  67%  [ 2 ]
B 33%  33%  [ 1 ]
C 0%  0%  [ 0 ]
D 0%  0%  [ 0 ]
F 0%  0%  [ 0 ]
Total votes : 3

 Solyaris [Solaris] 
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Post Solyaris [Solaris]
Solyaris

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Solaris (Russian: «Солярис», tr. Solyaris) is a 1972 film adaptation of the novel Solaris (1961), directed by Andrei Tarkovsky. The film is a meditative psychological drama occurring mostly aboard a space station orbiting the fictional planet Solaris. The scientific mission has stalled, because the scientist crew have fallen to emotional crises. Psychologist Kris Kelvin travels to the Solaris space station, to learn and evaluate the situation—yet soon hallucinates like the others.

The Polish science fiction novel by Stanisław Lem is about the ultimate inadequacy of communication between human and non-human species. Tarkovsky's adaptation is a “drama of grief and partial recovery” concentrated upon the thoughts and the consciences of the cosmonaut scientists studying an extra-terrestrial (alien) life. The psychologically complex and slow narrative of Solaris has been contrasted to kinetic Western science fiction films, which rely upon fast narrative pace and special effects to communicate character psychology and an imagined future. The ideas which Tarkovsky tried to express in this film are further developed in Stalker (1979).

The critically successful Solaris features Natalya Bondarchuk (Hari), Donatas Banionis (Kris Kelvin), Jüri Järvet (Dr Snaut), Vladislav Dvorzhetsky (Henri Burton), Nikolai Grinko (Kris Kelvin’s Father), Olga Barnet (Kris Kelvin’s Mother), Anatoli Solonitsyn (Dr Sartorius), and Sos Sargsyan (Dr Gibarian); the music score is by Eduard Artemyev. At the 1972 Cannes Film Festival, it won the Grand Prix Spécial du Jury, the FIPRESCI prize and was nominated for the Palme d'Or.

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Fri Feb 29, 2008 2:02 pm
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loyalfromlondon
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Post Re: Solyaris [Solaris]
I really likes how it draws the viewer in with its promise of sci-fi spectacle and ideas, but then shifts gears and becomes something else entirely. I'd argue that it's not really science fiction at all, it just uses it as a base for its larger purpose. At its heart, it's really a psychological drama, and though I usually prefer sci-fi, I really dug the ideas and themes it got going through its human relationship. I read that Tarkovsky didn't like 2001 because it was cold and distant, and so set out to make this film differently, but I didn't really view it as the 'anti-2001'. It's an entirely different type of beast entirely.

It's a film first and foremost about memory, and in that regard it's a lot more similar to something like La Jetée in the sci-fi realm. From the opening scenes where Kris is gazing sadly into a pond, the film is almost completely concerned with the effects that lost loves and past memories have upon us. When Kris first encounters his deceased wife in the space station, he doesn't know how to deal with it at first, and he sends her away in a rocket. When he encounters her again, he becomes afraid to lose her again, and thus when she risks death to be near him (by busting through a door), he vows not to leave her side again, foregoing his mission to stay with her. It's almost as if he falls in love again, and it's interesting to see it happen.

Even more intriguing, though, is the actual character of the wife, Hari. Though she is nothing more than a manifestation of Kris' thoughts at first (she can not even exist without him there, as evidenced by her door-busting antics), the way she evolves into a real human being by the end of the film is probably the most interesting part of this film. It brings up all these ideas of what it means to be human and where our memories come from, and this, in my opinion, is a lot more compelling than Kris' story. When Hari, the manifestation, eventually decides to commit suicide by drinking liquid oxygen (only to return to life, moments later, in a terrifying and disturbing sequence), it conjures up even more questions. Is the manifestation doomed to follow the path of the original, who also died by her hand?

Perhaps no shot is as provocative as the final one, though. Just as we've thought that Kris has returned home to reconcile with his father, the camera pulls back to reveal that he is, in fact, on one of the island that has formed on the surface of Solaris' ocean. So many questions abound. Does Kris know he's on Solaris? Why is he there? Is he, really, or is the planet manifesting him as well? It's one of the more baffling and affecting final shots in cinema (right up there with 2001 and Planet of the Apes, as far as sci-fi goes), and it just feels like the perfect ending. The film ends where it began, at Kris' father's home, but it's not the same place at all. The journey of the story is at once linear and circular.

I don't feel like I got everything on just one viewing, so I'll definitely be watching it again. It certainly doesn't feel like a masterpiece - certain scenes feel strange and out-of-place - but when viewed as a whole, I don't know what else you can call it. It's one of the greatest films I've seen, let alone in sci-fi, and I truly look forward to visiting it again someday.

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Tue Mar 04, 2008 11:54 pm
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The Kramer
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Post Re: Solyaris [Solaris]
The movie is good once they get to the space station, especially the philosophical discussions about what it means to be human.

I still don’t understand why they spent over 40 minutes on Earth. It almost lost me very early, and were it not for the extremely favorable reputation I probably would have just turned it off.

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Sat Feb 27, 2021 2:41 pm
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