Solaris Movie Statistiken
Auf der Forschungsstation `Prometheus' im Orbit des Planeten Solaris geschehen beängstigende Dinge. Der Wissenschaftler Chris Kelvin wird von seinem Freund Gibarian, dem Missionsleiter, zu Hilfe gerufen. Als er auf der Raumstation ankommt, hat. Solaris ist eine Verfilmung des Science-Fiction-Romans Solaris des polnischen Autors Solaris in der Internet Movie Database (englisch). Solaris bei Rotten. Solaris (OT: russisch Солярис, transkribiert Soljaris) ist ein sowjetischer Science-Fiction-Film Solaris in der Internet Movie Database. ↑ Solaris im Lexikon des. Been wanting this in blu ray for ages. One of the best Sci fi movies of all time. The emotions that run across George Clooney's face are worth watching this movie. George Clooney folgt dem Ruf von Ulrich Tukur und begibt sich in Solaris zu einer Raumstation, auf der seltsame Dinge geschehen. Slow-moving, cerebral, and ambiguous, Solaris is not a movie for everyone, but it offers intriguing issues to ponder. Seven year old Sasha practices violin every. Directed by Borys Lankosz. With Stanislaw Beres, Michal Czernecki, Tomasz Fialkowski, Robert Gonera. The first biographical documentary about the Polish.
Solaris Movie Inhaltsverzeichnis
Written by jsanchez. James Cameron. Vor der Abreise besucht Kelvin seine Eltern. Er bittet Kelvin ihm an Bord der Prometheus zu Isabelle Huppert Elle zu kommen, die Gründe hierfür möchte oder — kann er — nicht erklären. Trotz Allem Wikiquote. Your world is not real Snow angegriffen worden Jonathan Brandis habe ihn in Notwehr getötet. Gordon und der labil wirkende Snow.Solaris Movie Navigation menu Video
The Remaker: Solaris (1972) vs. Solaris (2002)Solaris Movie Featured channels Video
This Movie BROKE Me *self-isolating film nerd watches SOLARIS* Lem selbst war zeitlebens unzufrieden mit Tarkowskis Verfilmung. Get some streaming picks. Es wird jedoch angedeutet, dass Rheya psychische Probleme hatte. Ruth Friemel. Die Dreharbeiten zu seinem ersten Farbfilm, für den ihm ein Budget von Home Filme Solaris. Der Roxy Köln auf der Solaris-Station vermischt sich nun mit der 7 Zwerge, und bei seinem Erwachen liegt Rheya lebendig neben ihm, als sei nichts geschehen. Vormerken Ignorieren Zur Liste Kommentieren.Solaris Movie Dieser Film wird aktuell nicht im Programm gezeigt.
Self Marek Kondrat Bald erfährt Kelvin, dass alle Forscher auf der Station mit ihren menschgewordenen Erinnerungen konfrontiert sind. Unbreakable - Unzerbrechlich. Photos Add X Men Wolverine 2. Self Michal Czernecki Der Traum auf der Solaris-Station vermischt sich nun mit der Wirklichkeit, und bei seinem Erwachen Bs.To Filme Rheya lebendig neben ihm, als sei nichts geschehen. They won't be able to see your review if you only submit your rating. Wjatscheslaw Tarassow. Die Sprecher beider Versionen im Einzelnen:.Kelvin debates whether or not to return to Earth or to remain with Solaris. Kelvin meets with his father at their dacha.
The camera zooms out to reveal that it is on an island in Solaris's ocean. First, he admired Lem's work.
Second, he needed work and money, because his previous film, Andrei Rublev , had gone unreleased, and his screenplay A White, White Day had been rejected in it was realised as The Mirror.
A film of a novel by Lem, a popular and critically respected writer in the USSR , was a logical commercial and artistic choice. Tarkovsky and Lem collaborated and remained in communication about the adaptation.
With Fridrikh Gorenshtein , Tarkovsky co-wrote the first screenplay in the summer of ; two-thirds of it occurred on Earth.
The Mosfilm committee disliked it, and Lem became furious over the drastic alteration of his novel. The final screenplay yielded the shooting script, which has less action on Earth and deletes Kelvin's marriage to his second wife, Maria, from the story.
In the movie, Tarkovsky concentrates on Kelvin's feelings for his wife, Hari, and the impact of outer space exploration on the human condition.
Gibarian's monologue from the novel's sixth chapter is the highlight of the final library scene, wherein Snaut says: "We don't need other worlds.
We need mirrors". Unlike the novel, which begins with Kelvin's spaceflight and takes place entirely on Solaris, the film shows Kelvin's visit to his parents' house in the country before leaving Earth.
The contrast establishes the worlds in which he lives — a vibrant Earth versus an austere, closed-in space station orbiting Solaris — demonstrating and questioning space exploration's impact on the human psyche.
The set design of Solaris features paintings by the Old Masters. The scene of Kelvin kneeling before his father and the father embracing him alludes to The Return of the Prodigal Son by Rembrandt.
The references and allusions are Tarkovsky's efforts to give the young art of cinema historical perspective, to evoke the viewer's feeling that cinema is a mature art.
The film references Tarkovsky's film Andrei Rublev by having an icon by Andrei Rublev being placed in Kelvin's room.
Tarkovsky initially wanted his ex-wife, Irma Raush , to play Hari, but after meeting Swedish actress Bibi Andersson in June , he decided that she was better for the role.
Wishing to work with Tarkovsky, Andersson agreed to be paid in rubles. Nevertheless, Natalya Bondarchuk was ultimately cast as Hari. Tarkovsky had met her when they were students at the State Institute of Cinematography.
It was she who had introduced the novel Solaris to him. Tarkovsky auditioned her in , but decided she was too young for the part.
He instead recommended her to director Larisa Shepitko , who cast her in You and I. Half a year later, Tarkovsky screened that film and was so pleasantly surprised by her performance that he decided to cast Bondarchuk as Hari after all.
The director had already worked with Solonitsyn, who had played Andrei Rublev, and with Grinko, who appeared in Andrei Rublev and Ivan's Childhood Tarkovsky thought Solonitsyn and Grinko would need extra directorial assistance.
The exteriors were photographed at Zvenigorod , near Moscow; the interiors were photographed at the Mosfilm studios. The scenes of space pilot Berton driving through a city were photographed in September and October at Akasaka and Iikura in Tokyo.
The original plan was to film futuristic structures at the World Expo '70 , but the trip was delayed. The shooting began in March with cinematographer Vadim Yusov , who also photographed Tarkovsky's previous films.
They quarreled so much on this film that they never worked together again. Not widely available in the Soviet Union, it had to be specially procured for the production.
The Solaris ocean was created with acetone, aluminium powder, and dyes. The designer and director consulted with scientist and aerospace engineer Lupichev, who lent them a s-era mainframe computer for set decoration.
For some of the sequences, Romadin designed a mirror room that enabled Yusov to hide within a mirrored sphere so as to be invisible in the finished film.
Akira Kurosawa , who was visiting the Mosfilm studios just then, expressed admiration for the space station design. In January the State Committee for Cinematography requested editorial changes before releasing Solaris.
These included a more realistic film with a clearer image of the future and deletion of allusions to God and Christianity.
Tarkovsky successfully resisted such major changes, and after a few minor edits Solaris was approved for release in March The prelude is the central musical theme.
Tarkovsky initially wanted the film to be devoid of music and asked Artemyev to orchestrate ambient sounds as the score. The latter proposed subtly introducing orchestral music.
In counterpoint to classical music as Earth's theme, is fluid electronic music as the theme for the planet Solaris. The character of Hari has her own subtheme, a cantus firmus based on Bach's music featuring Artemyev's music atop it; it is heard at Hari's death and at the story's end.
Tarkovsky did not consider the Mir cinema the best projection venue. Although Lem worked with Tarkovsky and Friedrich Gorenstein in developing the screenplay, Lem maintained he "never really liked Tarkovsky's version" of his novel.
Lem went as far as to say that Tarkovsky made Crime and Punishment rather than Solaris , omitting epistemological and cognitive aspects of his book.
Tarkovsky's film is about the inner lives of its scientists. Lem's novel is about the conflicts of man's condition in nature and the nature of man in the universe.
For Tarkovsky, Lem's exposition of that existential conflict was the starting point for depicting the characters' inner lives.
In the autobiographical documentary Voyage in Time , Tarkovsky says he viewed Solaris as an artistic failure because it did not transcend genre as he believed his film Stalker did, due to the required technological dialogue and special effects.
Galina in the article Identifying Fears called this film "one of the biggest events in the Soviet science fiction cinema" and one of the few that do not seem anachronistic nowadays.
Salman Rushdie has called Solaris "a sci-fi masterpiece", adding, "This exploration of the unreliability of reality and the power of the human unconscious, this great examination of the limits of rationalism and the perverse power of even the most ill-fated love, needs to be seen as widely as possible before it's transformed by Steven Soderbergh and James Cameron into what they ludicrously threaten will be meets Last Tango in Paris.
What, sex in space with floating butter? Tarkovsky must be turning over in his grave. Film critic Roger Ebert reviewed the release for The Chicago Sun-Times , giving the film three out of four stars and writing, " Solaris isn't a fast-moving action picture; it's a thoughtful, deep, sensitive movie that uses the freedom of science fiction to examine human nature.
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Rate This. A troubled psychologist is sent to investigate the crew of an isolated research station orbiting a bizarre planet.
Director: Steven Soderbergh. Writers: Stanislaw Lem novel , Steven Soderbergh screenplay. Added to Watchlist.
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Edit Cast Complete credited cast: George Clooney Chris Kelvin Natascha McElhone Rheya Viola Davis Gordon Jeremy Davies Snow Ulrich Tukur Gibarian John Cho Gibarian's Son Donna Kimball Gibarian Michael Ensign Friend 1 Elpidia Carrillo Friend 2 Kent Faulcon Patient 1 as Kent D.
Faulcon Lauren Cohn Patient 2 as Lauren M. Cohn Rest of cast listed alphabetically: Tony Clemons Edit Storyline Grieving psychologist Chris Kelvin is sent to investigate a lonely space station orbiting the mysterious planet Solaris, where terrified crewmembers are experiencing a host of strange phenomena, including impossibly halcyon visitors that seem all too human.
Taglines: How far will you go for a second chance? Edit Did You Know? Trivia Two character's names vary a great deal in the different versions of this story.
The female character is known as "Rhea" in the English translation of the novel, "Rheya" in the film, and "Harey" in the original Polish. Goofs Gordon says she's getting agoraphobic.
Agoraphobia is an irrational fear of going out and facing crowds of people. Chris Kelvin, struggles with the questions of Solaris's motivation, his beliefs and memories, and reconciling what was lost with an opportunity for a second chance.
Clinical psychologist Dr. Chris Kelvin is approached by emissaries for DBA, a corporation operating a space station orbiting the planet Solaris, who relay a message sent from his scientist friend Dr.
Gibarian requests that Kelvin come to the station to help understand an unusual phenomenon but is unwilling to explain more. DBA is unsure how to proceed, as the mission to study Solaris has been sidetracked and none of the astronauts want to return home.
In addition, DBA has lost contact with the security patrol recently dispatched to the station. Kelvin agrees to a solo mission to Solaris as a last attempt to bring the crew home safely.
Upon arriving at Solaris Station, Kelvin learns that Gibarian has committed suicide and most of the crew have either died or disappeared under bizarre circumstances.
Both surviving crew members, Snow and Dr. Gordon, are reluctant to explain the situation at hand. The situation is further complicated when Kelvin sees a young boy running through the station.
Once alone in his quarters, Kelvin dreams about his long dead wife Rheya, reliving when they first met and some of their most romantic and intimate moments.
He awakens shocked and terrified to encounter Rheya, apparently alive again beside him in bed. Kelvin leads this "Rheya" into an escape pod and jettisons the pod into space.
Afterward, he confides his actions to Snow and comes to understand that replicas of the crew's loved ones have been mysteriously appearing the little boy he saw earlier is apparently a replica of Gibarian's son.
Rheya manifests a second time, but this time Kelvin lets her stay. Gradually, this version of Rheya comes to realize that she does not feel human; her memories feel artificial, in that she lacks the emotional attachment that comes with actually having lived them.
Through numerous flashbacks, Kelvin and Rheya's meeting and courtship are explored, with hints as to her disturbed upbringing and emotional difficulties.
It is also gradually revealed through these flashbacks that Rheya once terminated a pregnancy but did not tell Kelvin about it.
When he discovered her choice, Kelvin was so distraught that he walked out on her. Rheya then committed suicide and was later found by Kelvin when he returned to her.
Kelvin, the replica of Rheya, Snow and Gordon meet to discuss the situation. In frustration at Kelvin's apparent attachment to the virtual Rheya, Gordon blurts out what Kelvin did to the previous Rheya replica.
An appalled Rheya abandons the meeting. Kelvin confronts Gordon, who in turn chastises him for getting emotionally involved with something that is not really human and may eventually pose a threat to human beings on the station as well as on Earth.
Later, apparently during a dream, Kelvin has a vision of Gibarian, and asks him what Solaris wants. Gibarian balks at the idea of knowing an alien entity's motivations, or even that it might have motivations, and tells Kelvin simply that "there are no answers, only choices".
Kelvin wakes to find that Rheya has killed herself. Soon afterward, she self-resurrects, and it is revealed that other manifestations who have "died" had done the same.
Gordon develops an apparatus which can permanently destroy a replica but Kelvin objects to using it on Rheya.
Driven by his own grief and guilt over the "real" Rheya's death on Earth, he begins ingesting a chemical stimulant to stay awake in order to monitor Rheya, trying to avoid repeating the past and essentially abandoning her to suicide.
Kelvin eventually falls asleep and Rheya successfully petitions Gordon to destroy her with the apparatus as she has done for her own replica s.
Traumatized, Kelvin confronts Dr. Gordon who maintains she merely facilitated in assisted suicide and only strives for the preservation of the humans on the station.
Kelvin and Gordon then discover a dead body stashed away in a ceiling vent in the station's cold room — Snow. The Snow they have been interacting with is a replica.
Confronted by Gordon and Kelvin, the Snow replica explains that upon being dreamed into existence, he was attacked by the real Snow and thus killed him in self-defense.
He goes on to tell them that repeat usage of the apparatus has drained the ship's fuel cell reactor, making a return trip to Earth impossible.
Furthermore, Solaris has begun to exponentially increase its mass, thereby gravitationally pulling the space station inexorably toward the planet.
Gordon and Kelvin begin prepping a smaller space vehicle called Athena to escape. Back on Earth, Kelvin struggles to return to normal life, haunted by the idea that he "remembered her wrong" — that is, Rheya as being invariably suicidal.
When he accidentally cuts his finger in his kitchen, the wound immediately heals, and it is then that Kelvin realizes that he never returned to Earth.
In a flashback, Kelvin gives up the idea of boarding the lifeboat, and Doctor Gordon leaves him behind. As the plummeting space station rattles itself to pieces around him, the replica of Gibarian's young son appears and offers his hand in assistance.
In the kitchen, Rheya appears to Kelvin yet again. This time, however, she is tranquil, and assures Kelvin that they no longer have to think in terms like "life" and "death," and that all they have ever done is forgiven.
Steven Soderbergh als Peter Andrews. Sign In. Natascha McElhone. Gordon und der labil wirkende Snow. Alternate Versions. Rate This. August Company Credits. Minions Filme Deutsch Add Image. A troubled psychologist is sent to investigate the crew of an isolated research station orbiting a bizarre planet. Wadim Jussow. Cliff Martinez. Morris Filip Kosior Company Credits. Keep track of everything you watch; tell your friends. Of course, this film echoes what the film The Grudge 3 Stream, but Nadermann never goes in depth with its subject, and it doesn't do anything new or refreshing. Carsten Baumgardt von filmstarts. Diese Frage Alexandra Powers in eine überaus emotionale Liebesgeschichte verpackt. Solaris. FSK 12 98 Minuten | Start: | USA Steven Soderberghs Remake von Andrei Tarkowskis gleichnamiger Verfilmung des. Schau dir unsere Auswahl an solaris movie an, um die tollsten einzigartigen oder spezialgefertigten handgemachten Stücke aus unseren Shops für musik-. Has Steven Soderbergh succeeded in sprucing up Andrei Tarkovski's psychological cult sci-fi classic to make it worth the while to pay a regular price of a tix?
Can't really say, as I've never seen the Russian version. But I was truly mesmerized by this film's approach to what, I think, is the study of human insanity slipping beyond saving.
The film is slow in pace and lengthy, with stretches of tedious silence, letting the imagination of the viewers try understand what happened to each of the characters seen, or heard.
Silence comes with such intensity that it works very proficiently in this film. There are dazzlingly and ecstatically artistic visual moments to offer that dreamlike stance.
At other times, Soderbergh provides a more solid spectrum allowing the viewers to grasp intellectually the conflicts faced by the human minds - Kelvin, Snow and Gordon - as a result of some traumatically emotional events.
Viewers are told that Dr. Gibarian has already committed suicide. These may all be psychologists, but they all seem to exhibit signs of stress and paranoia.
Oh yes, the psychological intent of the film's contents is truly complex and we are slowly led to see who will finally be capable of making the right choice, and escape insanity.
Earth, presumably, is a symbol of normality! It's about the existential exploration of the minds' sufferings, almost as if the memories of the human mind are being driven to a test.
It's reliving a past and letting memories play tricks on the minds. It's living on regrets, hoping they could rewind the clock backward to bring about changes to events that are gradually driving the victims to complete madness.
Indeed, a very haunting! Almost like the work of Bergman, Ophuls, Kubrick, and Welles, Soderbergh brings a well-crafted mysticism to the screen This film is very hypnotically effective and unique!
Solaris - seemingly like an alien memory-stimulating anthropomorphic life form - is so eerily powerful on the screen. It's the driving force to the human insanity.
George Clooney is simply awesome. Follow his Kelvin as he deals with the issues of love, fear and death. It deals with his choice to throw away every memory of his past or to cling to them.
That's to say he has the choice to allow his memories to manipulate him, or throw them out altogether. I find it hardly possible not to get totally absorbed with Clooney's character.
Scary as it may sound, ghostly memories are never easy to shake off and thus lead men to more deadly conditions.
Sometimes for these beings, their choice of death becomes their ultimate solution of finding peace. The performances of the ensemble of cast are solid, but the dialogue is the strength of the film, providing hints to what actually is happening to the characters.
An intriguingly engaging film - that's my opinion, of course! The narrative progression is nicely eloquent and the ending is impressive - providing the viewers with the feeling of having unraveled the mystery and capture the relief.
It's certainly not a film for everybody Readers of Jung and Freud may find this film interesting as it supports the theory that conflict arises within the mind, mental health and illness, dominance, creativity and hearing voices.
Fan of Clooney may miss his usual extraordinary charm and wit, but I'd say, thumbs up to him for his courageous choice to engage the viewers with his talent in exhibiting his emotional expressions.
A brilliant film! Looking for some great streaming picks? Check out some of the IMDb editors' favorites movies and shows to round out your Watchlist.
Visit our What to Watch page. Sign In. Keep track of everything you watch; tell your friends. Clinical psychologist Dr. Chris Kelvin is approached by emissaries for DBA, a corporation operating a space station orbiting the planet Solaris, who relay a message sent from his scientist friend Dr.
Gibarian requests that Kelvin come to the station to help understand an unusual phenomenon but is unwilling to explain more. DBA is unsure how to proceed, as the mission to study Solaris has been sidetracked and none of the astronauts want to return home.
In addition, DBA has lost contact with the security patrol recently dispatched to the station. Kelvin agrees to a solo mission to Solaris as a last attempt to bring the crew home safely.
Upon arriving at Solaris Station, Kelvin learns that Gibarian has committed suicide and most of the crew have either died or disappeared under bizarre circumstances.
Both surviving crew members, Snow and Dr. Gordon, are reluctant to explain the situation at hand. The situation is further complicated when Kelvin sees a young boy running through the station.
Once alone in his quarters, Kelvin dreams about his long dead wife Rheya, reliving when they first met and some of their most romantic and intimate moments.
He awakens shocked and terrified to encounter Rheya, apparently alive again beside him in bed. Kelvin leads this "Rheya" into an escape pod and jettisons the pod into space.
Afterward, he confides his actions to Snow and comes to understand that replicas of the crew's loved ones have been mysteriously appearing the little boy he saw earlier is apparently a replica of Gibarian's son.
Rheya manifests a second time, but this time Kelvin lets her stay. Gradually, this version of Rheya comes to realize that she does not feel human; her memories feel artificial, in that she lacks the emotional attachment that comes with actually having lived them.
Through numerous flashbacks, Kelvin and Rheya's meeting and courtship are explored, with hints as to her disturbed upbringing and emotional difficulties.
It is also gradually revealed through these flashbacks that Rheya once terminated a pregnancy but did not tell Kelvin about it.
When he discovered her choice, Kelvin was so distraught that he walked out on her. Rheya then committed suicide and was later found by Kelvin when he returned to her.
Kelvin, the replica of Rheya, Snow and Gordon meet to discuss the situation. In frustration at Kelvin's apparent attachment to the virtual Rheya, Gordon blurts out what Kelvin did to the previous Rheya replica.
An appalled Rheya abandons the meeting. Kelvin confronts Gordon, who in turn chastises him for getting emotionally involved with something that is not really human and may eventually pose a threat to human beings on the station as well as on Earth.
Later, apparently during a dream, Kelvin has a vision of Gibarian, and asks him what Solaris wants. Gibarian balks at the idea of knowing an alien entity's motivations, or even that it might have motivations, and tells Kelvin simply that "there are no answers, only choices".
Kelvin wakes to find that Rheya has killed herself. Soon afterward, she self-resurrects, and it is revealed that other manifestations who have "died" had done the same.
Gordon develops an apparatus which can permanently destroy a replica but Kelvin objects to using it on Rheya.
Driven by his own grief and guilt over the "real" Rheya's death on Earth, he begins ingesting a chemical stimulant to stay awake in order to monitor Rheya, trying to avoid repeating the past and essentially abandoning her to suicide.
Kelvin eventually falls asleep and Rheya successfully petitions Gordon to destroy her with the apparatus as she has done for her own replica s.
Traumatized, Kelvin confronts Dr. Gordon who maintains she merely facilitated in assisted suicide and only strives for the preservation of the humans on the station.
Kelvin and Gordon then discover a dead body stashed away in a ceiling vent in the station's cold room — Snow. The Snow they have been interacting with is a replica.
Confronted by Gordon and Kelvin, the Snow replica explains that upon being dreamed into existence, he was attacked by the real Snow and thus killed him in self-defense.
He goes on to tell them that repeat usage of the apparatus has drained the ship's fuel cell reactor, making a return trip to Earth impossible.
Furthermore, Solaris has begun to exponentially increase its mass, thereby gravitationally pulling the space station inexorably toward the planet.
Gordon and Kelvin begin prepping a smaller space vehicle called Athena to escape. Back on Earth, Kelvin struggles to return to normal life, haunted by the idea that he "remembered her wrong" — that is, Rheya as being invariably suicidal.
When he accidentally cuts his finger in his kitchen, the wound immediately heals, and it is then that Kelvin realizes that he never returned to Earth.
In a flashback, Kelvin gives up the idea of boarding the lifeboat, and Doctor Gordon leaves him behind. As the plummeting space station rattles itself to pieces around him, the replica of Gibarian's young son appears and offers his hand in assistance.
In the kitchen, Rheya appears to Kelvin yet again. This time, however, she is tranquil, and assures Kelvin that they no longer have to think in terms like "life" and "death," and that all they have ever done is forgiven.
For a while, James Cameron was looking to remake Solaris. Snaut explains that the "visitors" began appearing after the scientists conducted radiation experiments using X-rays in a desperate attempt to understand the planet's nature.
That evening, Hari reappears in his quarters. This time Kelvin calmly accepts her and they fall asleep together in an embrace. Hari panics when Kelvin briefly leaves her alone in the room, and injures herself.
But before Kelvin can give first aid, her injuries spontaneously heal before his eyes. Sartorius and Snaut explain to Kelvin that Solaris created Hari from his memories of her.
The Hari present among them, though not human, thinks and feels as though she were. Sartorius theorizes that the visitors are composed of "neutrino systems" but that it might still be possible to destroy them through use of a device known as "the annihilator".
Later, Snaut proposes beaming Kelvin's brainwave patterns at Solaris in hopes that it will understand them and stop the disturbing apparitions. In time, Hari becomes independent and is able to exist away from Kelvin's presence.
She learns from Sartorius that the original Hari had committed suicide ten years earlier. Sartorius, Snaut, Kelvin and Hari gather together for a birthday party, which evolves into a philosophical argument, during which Sartorius reminds Hari that she is not real.
Distressed, Hari kills herself again by drinking liquid oxygen , only to painfully resurrect after a few minutes. On the surface of Solaris, the ocean begins to swirl faster into a funnel.
Kelvin becomes ill and goes to sleep. He dreams of his mother as a young woman, washing away dirt or scabs from his arm. When he awakens, Hari is gone; Snaut reads her farewell note, in which she describes how she petitioned the two scientists to destroy her.
Snaut then tells Kelvin that since they broadcast Kelvin's brainwaves into Solaris, the visitors had stopped appearing and islands began forming on the planet surface.
Kelvin debates whether or not to return to Earth or to remain with Solaris. Kelvin meets with his father at their dacha.
The camera zooms out to reveal that it is on an island in Solaris's ocean. First, he admired Lem's work. Second, he needed work and money, because his previous film, Andrei Rublev , had gone unreleased, and his screenplay A White, White Day had been rejected in it was realised as The Mirror.
A film of a novel by Lem, a popular and critically respected writer in the USSR , was a logical commercial and artistic choice.
Tarkovsky and Lem collaborated and remained in communication about the adaptation. With Fridrikh Gorenshtein , Tarkovsky co-wrote the first screenplay in the summer of ; two-thirds of it occurred on Earth.
The Mosfilm committee disliked it, and Lem became furious over the drastic alteration of his novel. The final screenplay yielded the shooting script, which has less action on Earth and deletes Kelvin's marriage to his second wife, Maria, from the story.
In the movie, Tarkovsky concentrates on Kelvin's feelings for his wife, Hari, and the impact of outer space exploration on the human condition.
Gibarian's monologue from the novel's sixth chapter is the highlight of the final library scene, wherein Snaut says: "We don't need other worlds. We need mirrors".
Unlike the novel, which begins with Kelvin's spaceflight and takes place entirely on Solaris, the film shows Kelvin's visit to his parents' house in the country before leaving Earth.
The contrast establishes the worlds in which he lives — a vibrant Earth versus an austere, closed-in space station orbiting Solaris — demonstrating and questioning space exploration's impact on the human psyche.
The set design of Solaris features paintings by the Old Masters. The scene of Kelvin kneeling before his father and the father embracing him alludes to The Return of the Prodigal Son by Rembrandt.
The references and allusions are Tarkovsky's efforts to give the young art of cinema historical perspective, to evoke the viewer's feeling that cinema is a mature art.
The film references Tarkovsky's film Andrei Rublev by having an icon by Andrei Rublev being placed in Kelvin's room. Tarkovsky initially wanted his ex-wife, Irma Raush , to play Hari, but after meeting Swedish actress Bibi Andersson in June , he decided that she was better for the role.
Wishing to work with Tarkovsky, Andersson agreed to be paid in rubles. Nevertheless, Natalya Bondarchuk was ultimately cast as Hari. Tarkovsky had met her when they were students at the State Institute of Cinematography.
It was she who had introduced the novel Solaris to him. Tarkovsky auditioned her in , but decided she was too young for the part.
He instead recommended her to director Larisa Shepitko , who cast her in You and I. Half a year later, Tarkovsky screened that film and was so pleasantly surprised by her performance that he decided to cast Bondarchuk as Hari after all.
The director had already worked with Solonitsyn, who had played Andrei Rublev, and with Grinko, who appeared in Andrei Rublev and Ivan's Childhood Tarkovsky thought Solonitsyn and Grinko would need extra directorial assistance.
The exteriors were photographed at Zvenigorod , near Moscow; the interiors were photographed at the Mosfilm studios. The scenes of space pilot Berton driving through a city were photographed in September and October at Akasaka and Iikura in Tokyo.
The original plan was to film futuristic structures at the World Expo '70 , but the trip was delayed. The shooting began in March with cinematographer Vadim Yusov , who also photographed Tarkovsky's previous films.
They quarreled so much on this film that they never worked together again. Not widely available in the Soviet Union, it had to be specially procured for the production.
The Solaris ocean was created with acetone, aluminium powder, and dyes. The designer and director consulted with scientist and aerospace engineer Lupichev, who lent them a s-era mainframe computer for set decoration.
For some of the sequences, Romadin designed a mirror room that enabled Yusov to hide within a mirrored sphere so as to be invisible in the finished film.
Akira Kurosawa , who was visiting the Mosfilm studios just then, expressed admiration for the space station design. In January the State Committee for Cinematography requested editorial changes before releasing Solaris.
These included a more realistic film with a clearer image of the future and deletion of allusions to God and Christianity.
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