Solaris (1972)

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Solaris (1972)

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Andrei Tarkovsky's 'Solaris (1972)' has the unique honor of being the type of film that's largely rejected when initially watched, but later lauded upon reflection — and with repeat viewings — as a masterpiece of the sci-fi genre. Although never outright disliking it, I admit to being one such moviegoer, confused as to whether the filmmakers made a point. At first, I thought the film was a perplexing and frustrating experience which ran far longer than needed and was full of pretty scenes with little meaning to them. Interestingly, I keep finding that Tarkovsky continues to have this same effect forty years later. (This was my wife's first viewing, and she still doesn't know what to make of it.) It was only later that I discovered the imagery lingers and haunts in the back of the mind until something germinates.

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Solaris (1972)

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This is ultimately the true beauty and artistry behind this classic of Russian cinema, an experimental piece of beautiful, detailed images which stay with you, much like the paintings hanging on the walls inside the library of the space station. The story, which is based on the novel by Stanislaw Lem, is of course a major component of the film — a small team of cosmonauts experience highly unusual hallucinations while orbiting the mysterious oceanic planet Solaris. But a great deal of its strength and effectiveness comes from what is seen on screen, how the images complement this poignant tale of grief and memory. Thanks to the amazing cinematography by Vadim Yusov, Tarkovsky is able to explore complex themes too difficult to put into words.

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Solaris (1972)

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At its core, 'Solaris' is a philosophical treatise on the human condition, and it intelligently questions the certainty of reality. Everything is suggested rather than spoken, literally demanding a viewer's full attention in following the narrative. Tarkovsky's meditative camerawork plods along through a series of very intimate moments and unusual pacing that practically invades a character's personal space. The images speak for themselves and reveal much for those with the patience to reason through them. Kris Kelvin (Donatas Banionis) walks contemplatively around the lake of his family's home and sits musingly on a patio chair during a rain shower. A family friend, Burton (Vladislav Dvorzhetsky), tries to persuade Kris about his mission to Solaris, and he does this using a filmed interview, hoping those images and the words spoken will be convincing enough.

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Solaris (1972)

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Many of these early scenes serve as contrast to the film's later aspects, showing Kris surrounded by unspoiled nature in some distant future which doesn't exactly look anything like we'd imagine the future to be. Characters are rather blunt and forthright, speaking clearly and to the point. Once on the dilapidated space station, Kris is literally encircled by technology and discovers Dr. Gibarian (Sos Sargsyan) committed suicide. The two remaining cosmonauts, Dr. Snaut (Jüri Järvet) and Dr. Sartorius (Anatoli Solonitsyn), have difficulty explaining the strange phenomena on board. We can quickly estimate something suggestive like communication is in danger as society advances. But Tarkovsky, with his prolonged sequences and steady, unedited camera movements, seems to dig deeper when Kris finally experiences the strange occurrences first hand.

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The next morning, Kris awakens to find his long-deceased wife Hari (Natalya Bondarchuk) sitting in a chair. It looks just like her and speaks like her, but Kris knows it cannot be her. He tries to explain it but can't — the scientists try to theorize it, but they're unsuccessful. Their earlier failure to communicate now extends to rationalizing what is happening to them and talking with the "Guests" — essentially, an alien life form created by a conscious planet possibly trying to make contact. The age-old argument of science versus nature comes to a head, as these well-educated, knowledgeable men fail to provide answers. Questions arise over these fantastical events being manifested from the deep recesses of each man's unconscious will. Furthermore, why does Hari only appear as the spitting image of Kris's last memory of her? And the surprise ending only adds fuel to these and other burning questions — more than can be adequately covered in this review.

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Often cited as the Soviet Union's response to '2001: A Space Odyssey,' Andrei Tarkovsky's film is much more than a terrific companion piece to Stanley Kubrick's own magnum opus. It's a unique experience with its own distinctive voice, intelligently told through a series of beautiful, eye-catching sequences that generate weighty, philosophical questions about humanity. 'Solaris (1972)' is incredibly challenging and perplexing, but captivating and engaging nonetheless — a complex mystery which unravels and only reveals its secrets with each consecutive viewing. A wonderful masterpiece from a masterful filmmaker.

M. Enois Duarte, Hi-Def Digest

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BluRay features:
* Deleted and Alternate Scenes - a gallery of various sequences which were part of the film's original version, but were cut by director Andrei Tarkovsky when Solaris was prepared for the Cannes Film Festival. For years, the original version of the film was kept in the Russian film archive Gosfilmofond. In Russian, with optional English subtitles. (25 min, 1080i).
– Opening Text
– Berton's Flight
– Kris's Takeoff From Earth
– Something to Eat
– Beginning of Part Two
– Kris and Hari's Meal
– Kris's Delirium/The Mirror Room
– Mother
– Further Philosophy

* Natalya Bondarchuk - the daughter of legendary Soviet director Sergei Bondarchuk (War and Peace) recalls her first encounter with director Andrei Tarkovsky, her work with director Larisa Shepitko, and her contribution to Solaris. The actress also discusses the Russian director's legacy. In Russian, with optional English subtitles. (33 min, 1080i).

* Vadim Yusov - legendary cinematographer Vadim Yusov, who worked with director Andrei Tarkovsky on The Steamroller and the Violin, Ivan's Childhood, Andrei Rublev, and Solaris, discusses his relationship and collaborations with the Russian director. In Russian, with optional English subtitles. (34 min, 1080i).

* Mikhail Romadin - production designer Mikhail Romadin recalls his work on Andrei Rublev and later on Solaris. In Russian, with optional English subtitles. (17 min, 1080i).

* Eduard Artemyev - director Andrei Tarkovsky did not want a conventional music score for Solaris; rather, he wanted a collection of sounds that imitated nature's sounds. Eduard Artemyev recalls how the film's unique electronic soundtrack came to exist. (22 min, 1080i).

* Stanislaw Lem - an excerpt from a Polish television documentary, which discusses Stanislaw Lem's best-selling novel and the writer's attitude towards director Andrei Tarkovsky's film. In Polish, with optional English subtitles. (5 min, 1080i).

* Commentary - an audio commentary with film scholars Vida Johnson and Graham Petrie, coautors of The Films of Andrei Tarkovsky: A Visual Fugue. The commentary was recorded exclusively for Criterion in 2002 and also appears on their SDVD release of Solaris.

DVD features:
The extras on DVD are the same as on BluRay, but in SD.

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Solaris (1972)

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Solaris (1972)

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