Solaris (Solaris)

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Cuando el Doctor Kelvin recibe una llamada pidiendo ayuda proveniente de una base espacial situada junto al planeta Solaris, emprende un viaje hacia lo desconocido de consecuencias imprevisibles para su futuro.

Solaris (Solaris) Review

This review refers to the DVD release of Solaris, the remake. Just a couple of notes from the outset:

(1) This film will not be well-liked by most people. There are a ton of spoilers in most reviews, so I'll try to boil it down for its essence to avoid ruining the unfolding of the movie should you choose to see it: a guy goes to a spaceship where weird things are happening and sees his dead wife. Maybe. That's all you need to know about the plot. The movie, some might think is slow, there's no action, it's a head-tripper, and honestly, had I not read the book before and also seen the magnificent Tarkovsky original, I might not have followed what was going on. As such, while I really enjoyed it, I can't call it either a great film nor one that is likely to appeal to a broad cross-section of movie watchers. There are some heady issues surrounding reality, consciousness, life and death, and if you take them too seriously you'll find yourself snoozing.

It's definitely in Soderbergh's style, and it's been fun watching him skip between genres in recent years, but it's more like "The Limey" and less like "Erin Brockovich" if you want to pin it down. While it's not an indy flick -- in the sense it's expensive and bankrolled and produced in Hollywood fashion -- it feels like a small art film or an indy. And please, god, don't expect "Aliens" or "Titanic" because James Cameron's name is over the credits as Producer.

(2) Both the original book and the Tarkovsky film have much to recommend them, although they also share characteristics of being verbally philosophical and talky which this version most assuredly does not. This version is incredibly tight.

(3) If you're a film student or into the mechanics of film, though, this DVD edition is an utter delight. I can easily see this sequence in a film class curriculum: watch the movie; watch the DVD commentary; read the screenplay; watch the Tarkovsky "original"; read the Lem original source book; write your term paper.

The DVD contains two interesting but not unusual featurettes on the making of the film. It also includes, somewhat unusually, a complete original screenplay (that you have to page through with the fast forward button). And it contains the customary Director's commentary, featuring director Stephen Soderbergh and producer James Cameron bantering about the movie. (In the honest assessment of Sodbergh, the commentary is "Just another version of two white guys sitting around talking.")

The two of them discuss nearly every choice that was made in assembling the movie, from lighting and the use of post-production to CGI and whether to rehearse actors or not and dozens of technical tricks. And the movie itself is sort of like a catalog of techniques and effects. I don't mean to imply it's showing off: it simply uses a huge variety of film techniques to move the story along, and Cameron and Soderbergh discuss in the commentary both what works and what didn't work, what reshoots were required, what processes underlay the film, how the rewrites were done, and so forth -- and do it in a rather entertaining way, to this film fan, at least.

And one of the things I enjoyed both about the film and the DVD is the way Soderbergh just endlessly pillages other directors and films: Hitchcock, Kubrick, Tarkovsky himself, Eisenstein, heck, even the Lumiere brothers -- even a dash of James Cameron. As Cameron himself says at the end of the commentary, "There are no new ideas. We're a hundred years into the process of filmmaking now."

As such, while I enjoyed watching the movie, I rather much more enjoyed immediately re-viewing it with the commentary, and I think this is going to be a keeper for those who like studying technical details. It's like "Citizen Kane" in that it comes close to summarizing what the 21st century film-maker has at his or her fingertips (the way "Kane" slopped together virtually every technique of 1941 -- rest assured I'm not actually comparing the film's stature to Kane.) There's a bit of what Soderberg immodestly calls "pure cinema", visual-only story-telling, which does remind me of "The Limey" and some of the silent classics as well as "2001" and the original "Solaris", and I mean that all in a complimentary sense.

It's also a huge genre-bender. There are elements of slasher flicks, ghost stories, horror, detective mystery, romantic tragedies, a very slight dash of comedy (thanks largely to the great Jeremey Davies in a supporting role), Soviet agitprop, Godard nouvelle vague, 1930s theatre, and who knows what else I missed the first couple of times I saw it.

This is not a flick you're going to want to pick out for Saturday night brain candy, or to change your mood if you're depressed, because it will either bore you or depress you more if you want mood-altering fluff. But it's a good one-timer for those who like the brain-bending what-is-reality film along the lines of Philip K. Dick or Alejandro Almenabar, and a multi-viewer for film school.

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