Anatoli Solonitsin, Donatas Banionis, Jüri Järvet

The cosmonauts on a space station have strange hallucinations, which seem to originate from the planet they are orbiting.

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38 critics

Unrated, 2 hrs. 47 min.

Directed by: Andrei Tarkovsky

Release Date: December 31, 1972

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DVD Release Date: November 26, 2002

Stats: 1,203 reviews

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  • August 22, 2009
    Andrei Tarkovsky's "Solaris" is one of the great science fiction films in history. The film is essentially a meditation on memory, a sort of hypnotic psychodrama that, as easy as it is to describe, is next to impossible to explain. Comparisons to "2001: A Space Odyssey" are obvio...( read more)us but unnecessary - each film is it's own, and each is an absolute masterpiece.

    "Solaris" begins with Kris Kelvin (Donatas Banionis) visiting his father's home. The next day, Kelvin will be leaving for a remote liquid planet called Solaris. After years of exploration and little to no progress, Kelvin is meant to evaluate the future of the Solaris missions. Also visiting his father's home is Burton (Vladislav Dvorzhetsky), who had previously visited the planet. He shows Kelvin footage of the hearing after his first expedition - he claimed to have seen a gigantic child emerge from the yellow liquid of Solaris' surface, but such improbable claims are dismissed as hallucinations.

    When Kelvin arrives, he finds the men in the space station to be beyond repair. One of the men, Gibaryan (Sas Sarkisyan), has killed himself, but not before making a videotape for Kelvin - in it, he warns that the planet has something to do with conscience, and that it'll bring memories to life. The two other inhabits, Sartorius (Anatoli Solonitsyn) and Snauth (Juri Jarvet), are not quick to let Kelvin in on Solaris' wonders. For example, who is this phantom young girl wondering around the ship?

    Soon, Kelvin comes to the understanding that Solaris creates physical manifestations of memory. Therefore, Kelvin is confronted by his dead wife, Khari (Natalya Bondarchuk), who had committed suicide years prior. After trying to kill her, he learns that his struggles are useless - she will always regenerate. Kelvin begins to love this doppleganger of Khari, and interestingly enough, she's self-aware, intelligent, and increasingly independent.

    The biggest complaint about the film is what some may call a glacial pace. "Solaris" certainly is slow and methodical - but it's the sort of film that allows you to digest each frame. This is a challenging piece, and the time for reflection is an absolute necessity. By giving us such ample breathing room, Tarkovsky allows us to delve even further into the mysteries of "Solaris", as well as hypnotizing us fully into his vision.

    This review was useless. All that needs to be said is this: few films have lingered with me as "Solaris" has. The way it creates suspense, the baffling ending, the mesmerizing set design. To me, movies simply don't get much better.
  • January 5, 2009
    A good film but the plot never gains momentum, it just creeps along. If you have attention deficit disorder you're going to have a hard time making it through the entire movie.
  • September 8, 2008
    In order to avoid seeming like a poser, I decided to watch this film simply to justify calling the remake one of my favorite movies. Now when I tell people that I liked the remake more, I can sound like an artless idiot instead of a poser! When dealing with film elitists, no one ...( read more)wins.

    The first huge problem with Solaris is that of pacing. Call me impatient all you like, but there is no way to rationally call this a well-edited film. See: car sequence. Not even Tarkovsky could justify treating the audience to a five-minute driving montage, short of production costs. I made several attempts to watch this movie in one sitting, but the task was ultimately divided over the course of three days. I kind of feel like I didn't give it the attention it deserved. Anyway, this film is over an hour longer than Soderbergh's remake, and as much as I'd like to say that the trimming didn't exclude anything important, that is sadly untrue. But more on that later; I want to discuss what sucked about this film right now.

    The second problem I have with it is a decided lack of subtlety. Not always - just in some areas, most notably the primary romantic plot. Solaris deals with some incredibly interesting questions about humanity and love, but when actually filmically addressing them, it gets really longwinded. I honestly think the remake handled this better in its omissions. And here's something I thought I'd never say: the movie actually made me appreciate 2001 more. As much as I've slagged off on that film, Solaris brought me to realize that it did have hidden meaning to it, albeit nowhere near as much as people claim.

    These are my two big problems with the movie, and they are certainly prominent and they certainly affect the overall product. But Solaris is also redolent with meaning, atmosphere and power. Tarkovsky's filming is lush and attractive without being too showy, and he has an interesting command of sound. I do have to say that it never really felt like the cast was in space, so much as a well-lit building somewhere on Earth. *shrug*

    Like I said before, Solaris is a very human piece of science fiction; Tarkovsky created it as a retort to 2001, which he thought was anti-septic and lifeless. It meditates primarily on romantic love, but also has an interesting, quiet subplot about family that doesn't mean much UNTIL you compare it to that romance plot. The ending, in that regard, is absolutely fantastic. It is this film's greatest strength against the remake, which jettisons the family completely and the ending suffers hugely for it.

    Despite Solaris's strengths, I still think the remake does it one better. Far more atmospheric, far more trusting of the viewer's intelligence, and conscientiously edited. Call me a dumb American all you want - I don't care. Soderbergh is a fantastic director with a mindful grasp on what he is conveying through his film. Tarkovsky reminds me of a mad, frustrated genius, throwing everything that appears in him at the wall and seeing what sticks. Plenty sticks here, but plenty doesn't, and the result is something equal parts brilliant and flawed.
  • August 19, 2008
    Dr. Sartorius: Man was created by Nature in order to explore it. As he approaches Truth he is fated to Knowledge. All the rest is bullshit.

    As good as much of this film is, it is another example of how I was spoiled by the more recent version of this story, which made me not en...( read more)joy the original as much.

    Based on a novel by Stanislaw Lem, the story involves a psychologist traveling to a space station orbiting a mysterious planet known as Solaris. He has been sent to find out what is going on with the cosmonauts currently there, only to find that the planet itself causes strange hallucinations representing particular figures from those experiencing it's own subconscious.

    Having seen the 2002 version of this story, directed by Stephen Soderbergh and starring Clooney, the difference is fairly clear. The original is nearly 3 hours, paced very slowly, and contains all of the same story points as the 99 minute remake. I'm all for long or slow paced movies, but when you see a very long movie, all in Russian, which contains no real twist since you've seen it all before, the experience is certainly affected.

    However, the film is still very well made in terms of getting across its ideas and portraying its characters. The thing that makes the story of Solaris very involving and unique, is the way the science fiction aspect is pushed to the background. While the characters are in space observing a planet, the film remains focused on its characters and the state of mind they are in based on their experiences. This film gets that across very well.

    Its a very good film, which will certainly benefit from seeing it in a fresh state of mind.

    Dr. Snaut: We don't want to conquer space at all. We want to expand Earth endlessly. We don't want other worlds; we want a mirror. We seek contact and will never achieve it. We are in the foolish position of a man striving for a goal he fears and doesn't want. Man needs man!
  • March 9, 2008
    2001 meets Wuthering Heights. A scientist goes up to a space station to check the progress of the Solaris project. Most of the crew are dead, and the ones left are seeing hallucinations of dead loved ones. When the scientist's wife appears, he starts to unravel. Or does he? A li...( read more)ttle muddled like I've noticed a lot of Russian films are and tends to drag quite a bit -- lots of contemplative shots out windows and across ponds -- but some good effects hold it up OK.
  • October 24, 2009
    And the Oscar for the most boring film ever goes to.....
  • October 22, 2009
    A wonderful meditative film that raises many philosophical and metaphysical questions about human existence, loss and happiness.
  • October 18, 2009
    "You mean more to me than any scientific truth."

    SOLYARIS (1972)


    Director: Andrei Tarkovsky
    Country: Soviet Union
    Genre: Drama / Mystery / Romance / Sci-Fi
    Length: 165 minutes

    ...( read more)obucket.com/albums/ww125/ElCochran90/?action=view¤t=Solyaris.jpg" target="_blank">Solaris,Andrei Tarkovsky,Soviet Union

    Cinema giant Andrei Tarkovsky always had a very characteristic ability to explore the vastness of the human mind, moving from religious agnosticism to philosophical existentialism. Applying a massive modification in his filmmaking style since his previous film Andrey Rublyov (1966), Solyaris is often considered as the Russian response to Stanley Kubrick's 2001: A Space Odyssey (1968), an immediately superior film. Despite the fact that Tarkovsky himself was not particularly fond of Kubrick's science-fiction magnum opus, specifically considering it slow and dull, Solyaris does not deviate from the spellbinding technical perfection and cinematic beauty the sole premise of the film originally required. Being slightly better and more solid than his upcoming utopian cyberpunk precursor Stalker (1979), Solyaris is one of the most complex and thought-provoking sci-fi dramas ever filmed by mankind, a film that welcomes the human mind to personally interpret endless symbols, to comprehend surrealistic elements and sequences, and to slowly digest, through its visual style and its as-delicate-as-a-flower direction, a shocking perspective of the utterly meaningless influence we, as human beings and breathing entities originated from stardust, can have on the undetermined size of the Universe.

    Bases on a science-fiction novel by Polish writer Stanislaw Lem, the film focuses on a scientist who is called by the Solaris mission, which has established a base on a planet surrounded by a vast and mysterious Ocean that seemingly holds a bizarre kind of intelligence. When he arrives, he does not only witness the strange behaviors of some scientists and the suicide attempts of others, but he encounters his wife that had been dead for several years. The scientist will soon be facing a downward spiral of insanity, hallucinations and predominating disillusions inserted into the subconscious of his mind mixed with those of other human beings. The film won both the FIPRESCI Prize and the Grand Prize of the Jury at the Cannes Film Festival. It was also nominated for a Golden Palm, losing it against Francesco Rosi's Il Caso Mattei (1972) and Elio Petri's La Classe Operaia Va in Paradiso (1972).

    Andrei Tarkovsky is, undoubtedly, one of the few directors that completely understood the meaning of cinema filmmaking. It is an art that, either explicitly or implicitly, must congregate the talents of several technical departments and a solid, argumentative powerful substance behind it. Fully applying an existentialist and catastrophic vision to the improving science fiction genre, Solyaris is a cinematographic manifesto of those mental characteristics that make us undeniably human disguised as a captivating masterpiece that deals with complicated subject matter, ranging from life and death to curiosity and ambition, elements that would also be present in Stalker. The effectiveness of the motion picture is completely strengthened with a slow, poetic pace that does not transform it into pretentiousness or dullness, but has the harmonic ability to become like life itself. Evidently, the film by itself had to lead its audience to a spectacular show of subjectivity and, consequently, a dead romance, one small factor that illustrates how man can have a strongly emotional connection to any material belonging and human relationship, our definitive Achilles' heel.

    Vadim Yusov applies a cinematography that is so perfect, so ambitious and so hypnotizing that it allowed Tarkovsky to take the spectator into an unforgettable journey, perhaps even spiritual. When being on the surface of the beautiful Solaris Ocean, every mathematical and scientific law and logic sense are lost into oblivion. It is not an entity that assassinates; it ultimately awakens the deepest fears and desires of the soul and the unfulfilled longings of the heart and transforms them into impossible illusions. What is the location of the planet? What are the main components of the Solaris Ocean? Tarkovsky feels free enough to leave several events and sequences unexplained. Why should he offer an explanation? Magic is irradiated from both relativity and the exceptionally edited musical score. The opening sequence portrays an earthly perspective of nature and contrasts it with outer space; scientist Kris Kelvin and his acquaintances are similarly contrasted with the possibly non-physical beings that he finds in the space station. Attractively, another unavoidable questioning is born: Is our mind even more complex than our own consciousness?

    We are merely instruments of God fulfilling his will... or trying to step away from it. Thus, the Solaris Ocean uses people as puppets to play with no apparent purpose, although nothing is clear when being "up there". There is a fact that states that our subconscious mind perceives and translates several sounds, images and words to a subliminal extent, causing their effect in our brains. The Solaris space station could be easily explained as a symbol of the brain with the Ocean as every single unperceived and unexplained aspect surrounding it. It functions as a machine, yet nothing is predetermined. It is a chain reaction that unleashes psychologically unprecedented reactions that not even we may be able to comprehend at their fullest. We cannot refuse such authoritative power, so it makes us surrender to hallucinatory submission. The realm of dreams and reality collide, but we are not capable of stopping neither the reactions nor the consequences of what our consciousness can construct; we cannot choose our dreams... not always. No matter how many times the main character, perhaps knowingly, tried to get rid of his wife despite that he knew, deep down, that she could not be real. Why does he keep trying? Why does he want to get rid of her? A deep fear of returning to Earth is the most humanly possible answer. It is a nightmare.

    Solyaris has as one of its main final intentions to generate several questions. The only question that a film fan has before seeing the film is: "What could the film be about?" The questions that a film fan has after finishing the film cannot be listed here, but they may be endless. The characters suffer exactly the same cathartic process, from asking themselves "what possible explanation could be given to the strange events reported in the Solaris base"? to actually making an investigation in the aforementioned place and unleashing a living nightmare. However, science, a human discipline characterized by its agnosticism and ego, has not the answers to every single aspect of the existence and its space. Therefore, the film could be also subject to a religious perspective, interpreting God as an implicit character. Why not? Andrey Rublyov (1966) and Stalker (1979) did.

    Solyaris is one of the most perfect and ambitious films ever committed to celluloid. It is an empathetic masterwork that makes an invitation to deep thinking and analysis, with a possible cathartic risk. The human condition is emphasized throughout, contrasted with the pride of man thanks to its technological inventions. A film open to any explanations, it is a journey that has something special prepared for every pair of human eyes.

    100/100
  • October 15, 2009
    pretentious. Solyaris,for me, is an ultimate endurance test. with a running time of almost 3 hours and a pace slower than an injured snail.It took me 5 days to finish this movie,wherein the rate is i overslept every 20 minutes of the film. Tarkovsky seems wants to make this his o...( read more)wn 2001, but the result is,nowhere near that Kubrick classic.
  • September 13, 2009
    Inaccessible bollocks. Much preferred Soderbergh's version. Suffers from The Deer Hunter syndrome and then when it gets on the space station it's just as boring. Somewhere in the 2nd hour I stopped reading the subtitles because they weren't helping. In face, the dense philoso...( read more)phical crap coming up on the screen actually made things worse.

Critic Reviews


January 24, 2003
Roger Ebert, Chicago Sun-Times

There was so much to think about afterward, and so much that remained in my memory. full review

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  • This russian sci fi film from the 1970s was later remade in 2002 by the U.S.A.  Answer »

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