Solaris

I have always had a bit of a problem with Tarkovsky's work, as it is very clear that his artistic expression is everything to him and he is not interested in the viewer in the slightest. He could afford to do so because he was creating in a country where the commercial side of things did not matter. The same can be said about Solaris as about Stalker, with the difference being that Tarkovsky filmed Solaris with the support of Soviet official circles. After the great success of Kubrick's 2001: A Space Odyssey, the Soviet leadership wanted to make a similar film that would surpass or at least prove to the Americans that they were capable of it too. The choice fell on Tarkovsky, who had a reputation as an extraordinarily talented creator. He chose the novel of the same name by Stanislaw Lem as the literary source. By the way, Lem was extremely disgusted with Tarkovsky's version and stated that he had a strong desire to go to Moscow and give him a thrashing for ruining his work. Frankly, the problem is not that Tarkovsky made a bad film, but that the intellectual starting points of Lem and Tarkovsky are completely different. It can be said that Tarkovsky's version is the last thing Lem wanted to convey to his readers. Tarkovsky's film showcases his strengths, which means a sense of visual composition and philosophical orientation. Just like with Stalker, it is not a genre film at all, but in this case, that fact is more bothersome. It is a very slow-paced film that is not for everyone. My relatively low rating reflects my knowledge of the book, which I simply like better. Overall impression: 55%. (02/02/2008)

I decided to watch this film hoping for an extraordinary experience, which is what I ended up getting. I was so unexpectedly and massively disappointed that it can’t be called anything but an extraordinary experience. The main theme was not bad at all, but the creators unfortunately managed to stretch out the length far beyond what I could possibly bear. At least half of the film is filled with protracted shots of the countryside (or traffic - the taxi ride seemed endless, and it was completely unnecessary, but probably highly artistic), and staying focused felt like a superhuman feat. Good thing it wasn’t me but my replica who had to suffer through it. (04/01/2021)

The Tarkovsky scarecrow may not be such a major problem if we view Solaris through the lens of contemporary science fiction. The result will, unfortunately (or thankfully), be just another film that has not withstood the ravages of time. Of course, you can also read Lem's novel, watch the modern remake and, with a slightly ironic smile, look for the old TV version. All science fiction before Star Wars has its limits, including Tarkovsky's opus. I really don't appreciate a spaceship whose integral part is the icons of Andrei Rublev spread out in the cabins. I really, really don’t. (15/06/2017)

8/10/2009: 2 stars /// 7/11/2014: I’m several years older and more experienced as a viewer, so I thought I’d give it another go, and it’s quite good. Science fiction of the more intellectual kind, mainly for people who enjoy being offered something to ponder over. The atmosphere is engaging and unsettling, also quite thought-provoking at times. But only at times, really, because, even though this is philosophic sci-fi, there’s not that much philosophising (they hardly speak). It could also be shorter, a lot. (08/10/2009)

Equally difficult to grasp as "2001: A Space Odyssey," but equally interpretive, possibly even stronger. Tarkovsky's film does not rely on visual spectacle, but instead the Russian creator opted for philosophical sci-fi, where everything important unfolds through dialogue, memories, not necessarily through images. There are scenes from inside spaceships, but it remains very limited. Even so, this is how sci-fi can be filmed, mainly because the narrative is no less powerful. (05/09/2014)