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Solaris: Another View
Fundamentally, it's about a man (George Clooney) mourning about his suicide wife (Natascha McElhone, best known from the incomparably better Ronin). The science fiction is there only to provide a mirror for Clooney's moping about his lost love. It could have been done with drugs, dreams, insanity, spirits, reincarnation, or any number of other conceits (and in other movies, it has been done, with all of those), but Solaris does it with a huge sentient planet capable of reading minds and reforming matter at subatomic levels. What does this stupendous cosmic power do? Create replicas of whoever the people on the nearby space station dream about. Like Clooney's dead wife.
This is a bit like using a Jedi Knight and her light saber to get at a can of soup.
The Jedi Knight and the light saber will definitely get the can, and get it open in a jiffy. But the contents are a mess. And one never seems to have a light saber around when one needs one. Much less a light saber attached to a willing Jedi Knight -- "Follow our mandate from the Jedi Council, we must! Mmmm!"
Like the light saber and the soup can, Solaris the sentient planet mostly just gets in the way of the real substance of the film. Solaris the planet looks pretty on the screen, but so does iTunes when you turn on the visualizations -- they've got about the same level of emotional content. We need clumsy faux-jargon exposition: "Are you or are you not made of sub-atomic particles?" (of course -- everything is made of subatomic particles, usually organized in the form of atoms, duh) -- to even know that Solaris the planet has anything to do with what is going on.
Comparisons with Kubrick's 2001: A Space Odyssey are as inevitable as they are inaccurate. Both films are set in space. And both films have a slow pace, driven largely by beautifully shot scenes of some space-scape. But that's the extent of the similarity. If this is Soderbergh's tribute to Kubrick, it falls short. Thematically, they have little to do with each other. Kubrick's long space shots establish tone and realism for a film shot before the Apollo moon walks. They are always placed to make a point relevant to the plot, whether it is the mind-numbing isolation of a long space journey or a parallel between the first bone weapons of proto-humans and the incomparably more sophisticated weapons of mass destruction of the near future. Soderbergh's long space shots show off some very pretty particle system effects and convince us, over and over again, that, despite all indications to the contrary, this film is taking place in a Strange Place.
What interesting shots Soderbergh does come up with tend to be film-studenty tricks like a dream-like tracking shot that suggests that there might be more than one replica of a particular character. Of course, by the point we start seeing these kinds of shots, we've already seen multiple replicas of the same character come and go. And he never goes anywhere with it. Even the supposedly trick ending is as obvious as the end of The Sixth Sense ("I see dead people" -- well, duh, we can see what the end is right there). Soderbergh brings this loaded gun on stage and never really fires it. The science fiction conceit of this super-powerful planet never goes anywhere.
Which just brings us back to the fact that this isn't really a science fiction movie. It's a character study. Unfortunately, I don't think Clooney's a good enough actor to really pull that off. He's got tremendous charisma and screen presence. But he doesn't do emotional depth well, and when he does, it either comes across as lust (the problem with his role in Out of Sight) or as bad melodrama (which is his problem here). The other actors are decent -- Jeremy Davies is good in a truly neurotic and twitchy role, but saying Jeremy Davies is good at playing neurotic is like saying that Jack Nicholson is good at playing crazy macho -- they can sleep through the role and still do it. McElhone is suitably cryptic, but again, it's something she does well. Viola Davis strikes me as perhaps the best of the lot, but I'm unfamiliar with her work, so she may be similarly snoozing through the role.
Soderbergh started his film career with a bit of sexual obsession, in the highly-regarded sex, lies, and videotape (yes, the title is all in lowercase -- never seen a satisfactory explanation for that little bit of conceit either). In the end, Solaris comes across much the same. Clooney sees McElhone on a train, they play a little eye footsie, and end up going to the same party at the home of a mutual friend. Breathy lines and bare butts soon ensue. Eventually, McElhone kills herself over a misunderstanding (Clooney walks out in a snit and she thinks he's not coming back). This is barely sexual obsession, and more like a pretentious drama student trying to redo the tragedies of Shakespeare. It just isn't compelling, and Clooney getting emotional distraught over it was silly (the New York audience I was with broke out into laughter -- maybe that's just New York cynicism, but I don't think so).
So in the end, what are we left with? Some pretty pictures of a purple planet. George Clooney's angst-ridden mug. A "trick" ending that is broadcast throughout the movie. And a conceit somewhat larger than a fully grown blue whale, lying in the middle of the movie doing nothing.
I wanted to like it, really I did. Soderbergh has done better, and we sure can use better directors on science fiction films than we usually get. Alas, this ain't it.
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Is this really a proper Solaris? I thought that the next Solaris was supposed to have GNOME in it, and I still don't see that silly little "foot" menu anywhere in the film! Are they going back on their promises?
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You know that feeling you get, when you start to read a review of something, and then you encounter a statement that is so nonsensical that you read it 3 times, looking for the irony/joke/sarcasm? And it isn't there?
Yeah. Ronin. Oooookay. Move along kids, nothing to see here.
If Jesus wants me it knows where to find me.
I don't think LOTR had as many posts about it. What is the big deal with this film?
As any time I see something over advertised and the salesman yelling "Please, please, just take a look, oh PLEASE take a look, I BEG YOU", I run the other way, and FAST.
Subliminal advertising? OSDN invested in the film? Someone knows someone, and is trying to "help" spread the word? Whatever the case, it is too much hype for me.
It's turned me off. Sort of like when you see the same commercial 10 times in an hour TV show. It is usually the last time I buy that product (if I ever did).
He does take shots that pay homage to the 2001 movie. Albeit, like you say, he doesn't do a quality job of them. Like the shots where he in his suit, and they have a close up of his helmet. The lighting and pretty much everything in that scene matches up with another scene in 2001.
:-)
Other than that though, I was quite disappointed with this movie. Esp. considering I was waiting for it to come out. The book Solaris is far better than the movie. I just found the movie was trying to hit on far too many points to successfully get any one particular one well.
There is a discussion of the existance and substance of God throughout the movie (with Solaris being a "God-like" entity)
There is a question of nihilism that slides through, but really isn't hit upon well.
There are "Star Trek"-like scenes, where all of a sudden a buch of techno-babble is spouted that solves everything and advances the plot.
But overall, he seems to be trying to discuss the existance of love, and what love is... Personally, I feel he failed miserably, or his definition of love is quite shallow.
The book Solaris, written by Lem, a French author (Thus, you'd need to be able to read French or find a translation to read it.) is a good book, and I recommend that it is worth reading.
The movie on the other hand... Well... like the review says...
~ kjrose
sigh. looking at it from a sci fi perspective you're going to be disappointed. the sci fi element is just a vehicle for the philosophical questions the movie raises (and then doesn't really answer, leaving me pretty confused at the end as to the point.)
the film was an interesting "journey", but not one with a very defined destination. i don't think it needs to get rocked as badly as it has in these slashdot reviews
-fren
"Where are we going, and why am I in this handbasket?"
Any takers?
he really was Polish. Apparently the English version of Solaris was translated from a French translation of the original Polish novel.
http://world.std.com/~mmcirvin/solaris.html
I thought that the next Solaris was supposed to have GNOME in it
I guess Ximian couldn't cough up enough money for product placement of Ximian Desktop software.
Or are real-world desktop environments such as the GNOME desktop unsuitable for placement in movies such as Soderbergh's Solaris? Movie operating systems seem to have big, dramatic alert boxes with bold text, bold colors, flashing icons, and sound. The GNOME desktop doesn't seem to do this.
Will I retire or break 10K?
The criticism of the premise could as well apply to Kubrick's "2001: A Space Odyssey" and every other episode of Star Trek. In fact, the characters explicitly question why Solaris would be doing what it is doing, why if it has such capabilities it didn't just destroy the space station or choose some other way to engage the characters. They are eventually left with the conclusion that there may not be an answer that they can understand, though they continue to struggle for understanding. That process of trying to understand is exactly the human dilemma that the film as art is trying to explore.
The role was a gutsy move for George Clooney and the subject matter itself was not the kind of thing someone would expect from a major director who is undoubtedly under pressure from the studios to provide the world with action-packed blockbusters. If you enjoy movies such as "2001: A Space Odyssey" and "Being There" in which the subject matter and pacing is more about intellectual and artistic achievement than maximizing profits, you will enjoy this movie.
I think the reviewer entirely missed the point and recommend this film to anyone who enjoys thoughtful, provocative films.
-- My choice of computing platform is a symbol of my individuality and belief in personal freedom.
This is a bit like using a Jedi Knight and her light saber to get at a can of soup.
The best Science Fiction, IMO, puts the familiar against a backdrop of the strange. How can we possibly understand the motivations of a planetary intelligence with this cosmic power? Maybe it's Solaris' idea of an experiment, or perhaps entertainment of some sort. I suppose our pets wonder why we use our cosmic powers to eat celery or watch TV. No, our pets are more sensible than amateur movie reviewers and don't bother to wonder at things they can't understand.
What is happening here is strange in the extreme and is just a given. What's interesting is how the characters deal with it.
Gee, maybe it's both a science fiction movie AND a character study? Are they necessarily mutually exclusive? What's the problem? Not the requisite lack of depth in the characters for a science fiction movie?
Note that the correct spelling is Stanislaw Lem ( Not "Stansilaw" ). That's pronounced stah-KNEE-swaf, for the curious.
A customer service representative will be with me shortly.
now, any seti grinder would tell you that one of the most intriguing aspects of space exploration is the possibility of encountering beings totally Other than ourselves. the book and the tarkovsky film ask whether we can really understand anyone or anything. it goes without saying that kelvin and the others have failed to understand and communicate with solaris. moreover, kelvin has failed to understand his wife in either incarnation. because he has failed in that most basic task, he loses his own moorings. in this sense, the psychological bits are absolutely central to the science fiction.
perhaps this sort of philosophical science fiction has more in common with other genres than more familiar science fiction tends to have. even if that's true, that's not a bad thing. how many times can you watch star wars? (which is just a recycled western anyway?)
nor does it mean that it's unlike other science fiction. look at 2001. in some way, all of the stories deal with human encounters with the non-human. there's a nietzschean thread running through 2001, but there's also a pessimism about the encounter with the Other. kubrick seems to be saying that when we do have that first encounter, we'll deal with it in the same way we deal with everything else: we'll send bureaucrats. in essense, kubrick is still operating in the satirical mode, and that is what makes 2001 most different from solaris.
Well thank god we have another pretentious reviewer bragging about how the ending of the Sixth Sense was so obvious. His analytical mind is clearly far superior! I bow before his massive intellect.
Look, it's a YANSR -- Yet Another Negative Solaris Review. How is this 'another view', exactly? The first Solaris-related story (a few months ago) concluded that 'it'll probably suck'. The recent review proclaimed that 'it sucks' (in so many words), and now this 'new perspective' reveals that -- whoa there -- it _really_ sucks.
I mean, come on. Soderbergh guilty of being a film student (I guess I'll have to boycott Taxi Driver and Raging Bull from now on)? A 'trick' ending (I'd love to hear an explanation of what was so 'tricky' about it)? A cynical, jaded New York audience not giving George 'what a plebeian' Clooney the benifit of the doubt (SHOCK!! HORROR!!!)?
Granted, the movie does have some very real faults (hint: it's not the 'conceit somewhat larger than a fully grown blue whale'. God, that's the worst fucking simile I've ever had the misfortune to chance upon). Sadly however, none of them are addressed in this 'new review'. On the other hand, it _is_ so terrifically 'biting', 'cutting' and 'cynical' in that wonderful New York way we all know and love -- I should think that alone places it a cut above the sort of review that attempts to honestly 'discuss' the 'content' of the 'movie at hand'.
Perhaps 'Solaris bashing' should be added to the list of Slashdot topics. I can see it now:
Step 1: Bash Solaris
Step 2: Bash Solaris some more
Step 3: Profit!!
or maybe even
IN SOVIET RUSSIA, Solaris bashes YOU!
P.S.
For a far more balanced (if not uncritical) perspective, you might try
the Salon review
God, why does all of slashdot seem to hate a really good movie? I mean, it's not like I come to /. for movie reviews, and I sure won't now, but really...
Ok, so what's your point? That Solaris isn't "science-fictiony" enough? That the planet doesn't do anything cool? Um...ok. We could, I suppose, get into some kind of argument about this, but if you don't see why that's a really, really stupid point to make to begin with, I'm not gonna bother.
There are, surprisingly, some good points made against the movie (though they're probably accidentally made). Such as: Clooney's a bad actor. You mention the scene wherein Clooney has a really, really corny set of lines, and might I add, it's the only one where he doesn't really seem believable. Most of the time, he does fine. Not great, but fine. Jeremy Davies, on the other hand, is just kind of annoying, laying it on with a forklift where really, a knife would be more appropriate.
You compare the movie to 2001, and then basically argue that they're different, only because of the cinematography. Ok...2001 is about man's hubris finally catching up with him: he (pardon the gendered language) goes too far, and eventually, his creations bring about his demise. Not all of man's demise, but the point is made. Solaris is, on some level, also about the failure of man in the face of his presumed greatness: why is the station out by Solaris? To see if it can be used as an energy source. Just getting there, and building the station, are remarkable acts of engineering skill, but we can't handle what happens to us when we get there. Just like in 2001, we're smart enough to build it, but not smart enough to ask whether or not we should, and not smart enough to know what to do when something happens.
Moving back to your review, you finally get that it's not really a science-fiction movie, but a character study. Good job. You do, however, make fun of the relationship between Clooney and McElhone. Well, ok. But whether or not it "works" is really more up to the viewer. If the viewer can't realize what's going on, though, namely that they are in love, and that the object of Clooney's love just killed herself because of him, well... You also cite the laughter of the audience as, implicitly, a reason not to see the movie. I have noticed that audiences laugh at this movie, and that there are a number of people who walk out of it. Both of these, to me, are indications that people go to Solaris expecting a "George Clooney movie", and thank God, that's not what they get. The American movie-going public being what it is, however, and giving millions upon millions of dollars to Harry Potter and other similarly bad studio productions while sneering derisively at the incomparably better foreign films that are lucky to find an art-house release, I'd say that if the audience thinks a movie's bad, odds are it's good, and if an American public thinks a movie is stupid, well, by God, if Rob Schneider can keep making movies, I want to see what they consider a "stupid" movie.
"McBane to base: Under attack by Commie Nazis!" -the Simpsons
It might be a nit, but saying that Soderberg has lately been focusing more on Elmore Lenoard style thrillers as a departure from his earlier character driven work is just silly.
As evidence for this assertion, three movies are listed.
1. Out of Sight
2. Traffic
3. Oceans 11
Never mind that most of these more caper-flicks than thrillers. They are also only about half of his output over the last 5 years, and, in the case of out of sight, have strong introspective character driven components.
But please, don't forget Erin Brockovitch, The Limey & Full Frontal, all released since Out of Sight. Taken togeather, think it is hard to charactarize his recent output according to some simple trend.
If anything, you might say that he seems to alternate between more commercial and more artistically focused efforts, but even this breaks down.
Out of Sight might fit as a commercial film, but really only in retrospect. George Clooney and Jennifer Lopez weren't big stars when it was made, and its complex narrative structure would seem at odds with the success it enjoyed.
Erin Brokovich looks like a play to make a commercial picture, what with it featuring an established star, but Soderberg's subsequent engangeent with Clooney and Roberts looks more motivated by friendship or artistic interests than simple commerce.
It's wrong for women to feel offended if someone says "his", but it's equally fucking stupid for you to be offended that someone wrote "her".
If it's no big deal, why did you feel the need to post? There's nothing politically correct about using the feminine gender, just as their is nothing politically incorrect about male gender. The poster didn't make any sort of political statement, and (ironically enough) it wouldn't have occured to anyone if you hadn't pointed out that, proper English be damned, the male gender is the one you prefer.
So, take some solace, friend: you're both morons.
Incidentally, I'll agree that the PC and Solaris just shouldn't go together.
This is a bit like using a Jedi Knight and her light saber to get at a can of soup.
The Jedi Knight and the light saber will definitely get the can, and get it open in a jiffy. But the contents are a mess.
Dammit man, a lightsaber is an elegant and simple way to open a can - not as clumsy or as random as, say, a blaster!!
Perhaps YOUR lightsaber skills are not up to snuff when opening a can of Campbells finest. But a REAL Jedi Knight can open a can, shave his face, or pick YOUR nose without you even noticing using his/her lightsaber!
Disgrunted Jedi everywhere blow you a big rasperry, sir.
"There is more worth loving than we have strength to love." - Brian Jay Stanley
This is a bit like using a Jedi Knight and her light saber to get at a can of soup.
The Jedi Knight and the light saber will definitely get the can, and get it open in a jiffy. But the contents are a mess. And one never seems to have a light saber around when one needs one. Much less a light saber attached to a willing Jedi Knight -- "Follow our mandate from the Jedi Council, we must! Mmmm!"
"Scotty, we can't make it all the way on pompous hot air! I need more from the Jedi Soup Can!"
"Cap'n - I can't get any more rhetoric out of this analogy! It's strained beyond its limit! She'll break up for sure!"
nonsensical
Not only that, it's just plain WRONG.
Fundamentally, it's about a man mourning about his suicide wife
No; it's not. The film is about IDENTITY. How we perceive ourselves and others. The vehicle is their relationship.
Anybody who missed that shouldn't be writing a review. Then again, I'm not surprised; most of the people in the theater were too distracted by what they thought the movie was about (ooh! Clooney!).
Don't get me wrong, this movie isn't great, but the concept is interesting. It requires a bit of thought OUTSIDE what's on the celluloid. People, I've discovered, are wholly incapable of that.
Sorry for the rant, I am.
.sig last updated Jan. 14, 2000
Thematically, they have little to do with each other. Kubrick's long space shots establish tone and realism for a film shot before the Apollo moon walks.
Are you confirming that it's Kubrick who made the moon walks clips?
You are correct, but basically to make an accurate portrayal of the book would be extremely long and probably boring. This movie does the right thing - it focuses on one aspect of the book, and hints at the rest. If it did too much, it would surely lose focus.
I haven't seen this new version of Solaris, so excuse me for being somewhat off-topic. Why is it that 'Americans' automaticly use 'art house', to describe somthing that isn't Hollywood gloss?
How small a thought it takes to fill a whole life