This is probably one of Tarkovsky's most approachable films, but it was still able to maintain the bleakness that characterizes most of his work. Whether or not it was intended, the film's radiation-fed immortal dream world and conclusion certainly feels like a well-played one up to American sci-fi of the era.
81/100 (Tekrar izlendi. Tarkovsky keşke özgün senaryo değil, hep otobiyografi yada roman uyarlaması çekseymiş. Özgün senaryolarında Metafizik övgüleri, uzun su sahneleri, aileye özlem, siyah beyaz ekranda anılar... Hep kendini tekrar eden filmlerdi. Solaris ise bunlara malesef benzer yanları olsa da Tarkovsky'nin teknik dehası, Lem'in felsefik açısı ile direnip başarılı oluyor.)
There's a tone of limbo throughout Solaris. Someone who can't let go of something and move on and ends up causing him to lose their grip on reality and sanity, the ending for me confirmed my own interpretation but each to their own. I saw a video comparing it to Silent Hill 2 and with a lot of images of fog, lakes, death and psychologically troubled characters it's easy to start seeing those connections meet up.
Recently I've been reading about Jeff Hawkins' Hierarchical Temporal Memory theory, which if my philosophy 101 knowledge does not fail me, I think can be seen in part as a sort of neoplatonism. Spirituality bothers me though, the whole forms things... utterly uncomfortable. So, an explanation grounded on data and hard science always pleases me. (the tangent continues in the comments)
4.5, if you can believe it, Tarkovsky's least favorite Tarkovsky. It a achieves a kind of (which is to say, completely unique, but resoundingly universal) cosmic psychology. Lem's novel was almost exactly the opposite from AT's , who unfolds some of the most trite existentialist questions with this profound pathos, in that it's about suffering and also that parts of it are really so beautiful it hurts to look.
3-4. Man goes out into space to transcend himself, and winds up being brought back in contact with himself via an alien life-form, who encapsulates a number of different self-reflective metaphors, not the least of which being a mirror. It's slow to get-going, but packs a wallop if you're down for an artful, restrained, super long episode of Star Trek, sans camp. Kudos, Tarkovsky, on tapping semiotics intentionally.
I love this slow-moving dreamy science fiction filled with symbolic imagery and a beautiful Natalya Bondarchuk. Hypnotic in style and with interesting philosophical questions. It demands your patience. Especially an overlong scene through the road tunnels of Japan (very futuristic for Communist Russia at the time) almost kill the flow of the film.
Maybe the only flawed Tarkovsky film, yet so divinely mystical throughout that the ultimate taste is one of awe and wonder. As a thesis on the 'Decline of the West'(Occidental instrumental reason) it is alarmingly relevant but also can be easily contested. Yet, its ample Bergmanesque moments (e.g. the midget as the inverse of scientific will-to-power) establish a cinematic program of the spiritual and the maternal.
An interesting examination of the worthlessness of the hierarchical masculine values of civilization. The "smartest" men are sent to Solaris yet at the station they are unable to cope with the literal materialization of their own existence, memories, or experiences when they are separated from their position in civilization and are alone with themselves. Think of when the scientist lashes out at Kris's wife at the
What does it mean to be human? To be alive? To know another person? To know yourself? What is the purpose of knowledge? What is human progression if we are so technologically advanced but we do not know what is within? How can we reach for the stars & understand what is alien to us if we do not even know & respect each other? If we don't even know or respect ourselves? Solaris is a grand masterpiece of world cinema.
Space is too fragile for a mankind that doesn't understand it and so does not appreciate it. Solaris faces humans up to how much they don't even know or recognise about themselves played out in a rusting and decrepit space station in the which the 'Guests' reflect the deepest fears and yearnings of the occupants.