Based on Stanislaw Lem's novel of the same name (and not the original 1970s Tartakovsky version), Solaris tells the story of Chris Kelvin, a widowed psychologist who is called to a space station in orbit around the planet Solaris to investigate and resolve strange happenings with the crew. Kelvin arrives to find two members dead, one plainly on the verge of insanity, and the other both fiercely protective of her quarters, but more fully compos mentis about what's happening. And then Kelvin awakes to find his wife, Rhea, alive and next to him in bed. The film explores the issues of memory, loss, regret, and our abilities to deal with these issues if given a second chance. Wrapped around these ideas is the concept of Solaris as a sentient entity that, for reasons unknown, can create life. Is it to soothe? Punish? or for some other reason?
This is truly grown-up SF. And it IS SF - contrary to what some might claim. SF does NOT have to be populated with rockets, monsters, rayguns or robots. Good SF can easily forego these things and presemnt us with situations that question and challenge out current understanding. Solaris does this, and does it with skill and grace. Soderbergh does not demean his audience with action sequences or flashy SFX. What we have is pure intelligence, and the bravery of creating a film that poses more questions than answers and never, for a second, patronises the viewer by either trying to second guess the outcome or wrap things into a neat little bundle.
All the characters are flawed, but each display redemptive qualities. Helen (Viola Davis) understands precisely what Solaris is capable of producing but can only destroy it. Kelvin (George Clooney - outstanding) is forced to face what he most dreads and reveals himself to be the most scarred of all, and Rhea (Natascha McElhone) is naive, tragic, knowing, manipulative, and, ultimately, the key to redemption. Snow is the only weak link; but even his mannerisms and tics are revealed to be something deeper.
Soderbergh employs his characteristic switches of narrative perspective to full effect and his use of flashback to convey Kelvin/Rhea's tale is masterful. Their relationship builds and develops steadily through the film, and Kelvin's actions upon first encountering the revived Rhea for the first time (in a scene reminiscent of 2001) are only fully appreciated when one understands the true nature of their relationship.
Flaws? Yes. The pace is sedate and will be too sedate for some. There is also a small amount of intrusive technojargon that might have detracted from the story had Soderbergh been a lesser film-maker. And the influences in this movie clearly show: 2001, Blade Runner, and even in some respects, Michael Mann's 'Heat'. But that's no bad thing. All films have to have an influence from somewhere, and here Soderbergh's opted for the best.
Strengths? Positive, brave, film-making. Intelligently realised futures. The willingness to be ambiguous and let that remain. George Clooney. I forgive this man the aberration that was 'Batman and Robin'on the strength of this film.
The score, too, is sublime. Muted electronics with a chill-out vibe that beautifully compliments the unfolding strangeness and yearning.
Solaris is a beautiful, haunting film that deserves to be up there with the other SF greats. It won't receive its due praise or recognition now, but, like Blade Runner, it will, in time, become one of the defining movies of science fiction.
Superb.
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