Solaris (Criterion) (Blu-Ray)

Criterion's all-region, 2-disc DVD version of SOLARIS offers a beautiful video transfer, the original Russian soundtrack in 1.0 mono, re-written optional English subtitles, and rewarding extra material. The anamorphic 2.35:1 video transfer was created from a 35mm positive made from the original negative. This is a newer, different transfer from the ones on previous DVD versions by other companies. Subtitles have also been re-written and, as is usually the case with Criterion DVDs, improved, with less paraphrasing and fewer untranslated dialogs compared to older video releases.

The first disc contains the 169-minute film in its entirety and a full-length audio commentary by two Tarkovsky experts, Vida Johnson and Graham Petrie. The scene-specific commentary provides good coverage of a variety of topics concerning the film, such as Tarkovsky's artistic style and thematic explorations, various contributions from the filmmakers, certain details about the making of the film, how the film deviates from the original novel by Stanislaw Lem, and aspects of Tarkovsky's personal life. But the strength of the commentary is its analyses of the film's characters, themes, and Tarkovsky's direction. And due to the length of the film, the commentators have ample time to allow sufficient elaboration on every thesis, making this audio track one of the more satisfying analytical commentaries I've heard. Major issues such as mortality, faith, and humanity, as well as minor observations regarding gestures, background noises, and other allusions are dealt with in great depth and competence. One fascinating comment regarding Tarkovsky's use of long takes is that it dilutes any sense of suspense that editing usually contributes, the result being a more immersive and meditative atmosphere.

The second disc contains almost half hour of deleted scenes and about 100 minutes of new interviews with the film's principals.

Most of the deleted scenes seem to conform to our expectations as to why scenes were deleted in a movie like this -- they are too explicit about things that are better left unexplained. The deleted opening sequence, for instance, is a didactic text prologue that is so out of character with the subtle approach of the rest of the movie. The deleted dream scene of Kris and his mother depicts their relationship more explicitly, thus lessening the dream-like quality of the scene. The most fascinating deleted scene is an expanded version of the scene of Kris in the "mirror room," in which the various reflections of the mirror reflect Kris' fragmented and fragile mental state.

The interview segments include a half-hour interview with Natalya Bondarchuk, who plays Hari. She recalls how she met Tarkovsky, how she was cast (with a little trickery on her part), her experiences on the set, analyzes the character of Hari, and praises the unique meditative style of Tarkovsky. In another half-hour interview, cinematographer Vadim Yusov talks about the many visual motifs in the film, how the special effect shots of Solaris were created, and even talks about his work on Tarkovsky's previous film ANDREI RUBLEV (a few clips also included). In a 17-minute interview segment, art director Mikhail Romadin discusses his various intentions in designing the sets for SOLARIS. Both Yusov and Romadin also mention Tarkovsky's strongly negative reaction to Kubrick's 2001 and Lem's insistence that the film should adhere to his book. Composer Eduard Artemyev, in his 20-minute interview segment, describes his background on electronic music that first attracted Tarkovsky, and recalls the challenges of translating Tarkovsky's unique demands into music.

Finally, there is disappointingly brief, 5-minute video clip of a Polish documentary about Lem and his struggle with Tarkovsky. The only thing relevant is Lem's only remark in the clip: "Finally I said [to Tarkovsky and his crew], 'You idiots!' I tried to soften him up a little. But he was stubborn, and so was I. So I ended up returning to Warsaw." There must be a lot more to the disagreement between the two men, but we get the picture. (I also posted an expanded version of this review at Epinions.com, under the account kevyip.)

Wrong. Very wrong. Solyaris *is* a masterpiece, although the resemblance to 2001:ASO fades away after a deeper appraisal. It definitively stands alone. I am not sure which one I like most (Solyaris currently rests third on my top 20 while 2001:ASO is fourth), but this should not influence one's appreciation of Solyaris.

Solyaris is about many things : the limits of science and unrelentlessness, our tendancy to reduce everything in our own terms and being unable to open ourselves to the different, free will, guilt, and perhaps personal identity, and love, too. With such wonderful setting and material (notably in the form of the book "Solaris", by Stanislaw Lem), we would ask for nothing less. But when Tarkovsky does it, well, it's even better. But it's a movie made in his style : and if you don't have the attention span to watch a movie that lasts three hours, too bad. But you're missing out.

How, then, to describe the plot ? Because I have to try. The human race is now united and exploring space, but it falls upon an epinous problem : Solaris, a planet whose mysteries remain intact after dozens of years of study. Not only is it composed only of one all-encompassing Ocean, but this Ocean may be sentient. At any rate, the three remaining occupants of the Solaris station are going insane, and cold-hearted psychologist Kris Kelvin (Donatas Banionis) is dispatched on a mission upon which the fate of the station, the study of Solaris, and perhaps even Solaris itself, depend. But as Kelvin uncovers the true nature of the madness that strikes the stranded scientists, his mission takes second place to his own psychological turmoil.

I'm afraid that's as far as I will tell you, but that's already a half-hour. Solyaris is a three-hour visual fest. It has minimal special effects (with the notable exception of Solaris itself), and minimal music, in keeping with Tarkosky's style. They are not missed, of course. The acting is competent, when needed (as in 2001:ASO, there isn't a lot of it, but there is a lot more dialogue). The script, direction and visuals are sublime.

This movie has been praised as Christian, and Tarkovsky himself was a Christian mystic, although he was more of a mystic than a Christian. I have seen it twice already and I can testify there is not one trace of religion in Solyaris (not that his Communist masters would have allowed such anyway). There is a resurrection, however, but to associate it with Jesus would be hackeyned at best.

There is also not a lot of technology. In fact, we only see the station for a few seconds, and we don't even see Kelvin's capsule (except in the deleted scene). This is on purpose. Tarkovsky is not a science-fiction director, and only liked the story for its psychological aspects, not its technological aspects (indeed, according to biographies, viewing 2001:ASO cemented his idea of going away from a special effects fest and into the kind of movies he liked to make). He was forced by Lem to make a movie that stayed closer to the original story, and thus we got the best of both worlds.

If you like science-fiction, especially hard science-fiction, you would be the king not to see this movie.