《索拉里斯》讲述的是什么故事？

配乐像惊悚片……（索拉里斯）影评

看得人心惊胆战的，本人胆子小……
主要是这配乐太过惊悚了……
其实看开头时大概就猜到结局了，但原本想说主人公是心理医师的话会不会有意外？但根本就没任何意外，这种明知虚假却甘愿被虚假所俘获、相信在精神世界得到超脱，可以说是歌颂情爱超过一切，也可以说唯心主义的乌托邦？
私人情感和人文伦理纠缠不清。这种片子看过就好，不能想太深，要不就是自己跟自己较劲儿呢，跟电影主人公没啥差别。
对我来说不会再看第二遍。

或许，飞船撞向的那个星球，并不是Solaris, 而是我们自己的心（索拉里斯）影评

茫茫宇宙中流动的电波与Chris睡觉时脑波活动是呼应的。事实上，他们都是电波，还没有人能够证明这两者没有关联。
很多人曾说过：21世纪，人们上天入地，但是对于支配这种高难度行为的人脑，却仍然知之甚少。记忆是什么，意识是怎么产生的，和这个客观世界有什么联系？

很多人觉得主导中心思想的一段话是关于Dylan Thomas 关于死亡的那首诗。但我觉得，影片想讲的，大过”死亡“。
宇航员，心理学博士。他们以他们的经历，知识，认知，一同讲述着这个超乎寻常的故事。虽然故事并未包含太多的科学理论和奇幻情节，但是这个故事包含着一个最宏大，最基础，最深远的科幻观：存在。当Dr. Gordan极力主张毁灭“来访者”时 ，Chris发表的这段话值得好好体会：

"你的来访者是谁？是什么？
它有感情么，能够触碰么？会说话么？
你怎么能断定，它不是生命？你不能就此封锁它，扼杀它，单单因为它超出你的理解范围！"

从Gordan与Chris的第一次座谈时就能体会到，Gordan尚存理性，能客观地分析自己的精神状况，对行为作出审慎的分析。从Snow断断续续的描述来看，Gordan也是反对回地球的主要原因，这其中包含着一定的责任情节（如果把这些"visitor"带回去会否引发灭族威胁？），也包含着科学家的傲气情节（一定能够用战胜这个科学难题和处理好这些visitors). 虽然她也对失控充满着恐惧，她对于自己所理解的那个“科学”还是充满信仰的。

Chris却不同，情感，这一他所擅长处理的东西却很快侵袭了他，支配者他，让他产生畏惧，或者说，让他无所畏惧。Gordan和Snow somehow已经切断了自己的情感线，因此他们再没有visitor到访，而Chris的妻子确是去了又来，死了又活，还同时出现几个，如记忆中一样脆弱，迷离，因为那是永远存在在他心中的爱。

有一个细节很多人都注意到了：片头，Chris切开手指时，那道伤口是个旧伤，甚至留不出血来。他的那些病人所讲述状态：对世事无感，行尸走肉，其实就是他的写照，用他自己的独白来说：用尽全力仿造地球人，凹出生活的造性，这，不是存在。但是片尾，当飞船撞向Solaris时，Chris再度看到自己切开了手指，献血如注，他抬头，看到了妻子，对他说：生死已不再重要，我们在一起了。

或许，飞船撞向的那个星球，并不是Solaris, 而是我们自己的心。

Gibarian在他的遗言录像中曾经说道: We don't want a new world, we want mirrors.

一部电影，一首诗（索拉里斯）影评

   也许看过这部电影的人，对克里斯与妻子蕾雅的初遇中电梯间里朗诵的那首诗有印象，它在电影中再次出现是蕾雅自杀身亡那一刻攥在手中的一页诗集……
    上网寻找了许久，总算找到了这首出自Dylan Thomas的杰作：
And death shall have no dominion.
Dead men naked they shall be one
With the man in the wind and the west moon;
When their bones are picked clean and the clean bones gone,
They shall have stars at elbow and foot;
Though they go mad they shall be sane,
Though they sink through the sea they shall rise again;
Though lovers be lost love shall not;
And death shall have no dominion.

And death shall have no dominion.
Under the windings of the seaThey lying long shall not die windily;
Twisting on racks when sinews give way,
Strapped to a wheel, yet they shall not break;
Faith in their hands shall snap in two,
And the unicorn evils run them through;
Split all ends up they shan't crack;
And death shall have no dominion.
 
And death shall have no dominion.
No more may gulls cry at their ears
Or waves break loud on the seashores;
Where blew a flower may a flower no more
Lift its head to the blows of the rain;
Though they be mad and dead as nails,
Heads of the characters hammer through daisies;
Break in the sun till the sun breaks down,
And death shall have no dominion.
    没有看过电影原著，因而对其与原著之间纠缠不清的关系不予评论，升华了原著也好，糟蹋了原著也好。我只想说，史蒂文·索德伯格拍出了这首诗的灵魂。“Though lovers be lost love shall not”恋人失散，即便阴阳相隔，爱却依然永存，这甚至令死亡都无可奈何，于是，死亡无法再主宰一切，即便癫狂，却仍能再次清醒，即便沉沦深海，却能再次升腾。当净骨成灰散尽，却在其手肘足底化出璀璨星辰……相爱的人，灵魂将永远以彼此为羁绊，不分离，即便，即便再次相遇的地方，是在那遥远光年外的solaris……

Stanislaw Lem的评论也许更有用（索拉里斯）影评

The Solaris Station

After the premiere of this remake of the Tarkovski movie I read a number of critical reviews, which appeared in American press. The divergence of opinions and interpretations was enormous. The Americans in a somewhat childish manner"grade" films just like children's papers in school. Hence there were critics who gave Soderbergh's Solaris an"A", the majority agreed on a"B" and some gave it a"C".

Some reviewers, like the one from the"New York Times", claim the film was a"love story" - a romance set in outer space. I have not seen the film and I am not familiar with the script, hence I cannot say anything about the movie itself except for what the reviews reflect, albeit unclearly - like a distorted picture of one's face in ripply water. However, to my best knowledge, the book was not dedicated to erotic problems of people in outer space...

         I cannot say anything reasonable about its creation - the book somehow"poured out of me" without any previous planning and I even had difficulties with the ending. However since I wrote it over forty years ago, from today's perspective I perceive it in a much more objective and rational way. I am also capable of finding analogies to other works, located in high regions of the world literature. Melville's"Moby Dick" could serve as an example; on the surface the book describes the history of a whaling ship and Capitan Ahab's pernicious quest for the white whale. Initially the critics destroyed the novel as meaningless and unsuccessful - after all why care about some whale the captain most likely would have converted into a number of cutlets and barrels full of animal fat? Only after great analytical efforts the critics discovered that the message of"Moby Dick" was neither animal fat nor even harpoons. Since much deeper, symbolic layers were found, in libraries Melville's work was removed from the"Adventures at Sea" section and placed elsewhere.

         Had Solaris dealt with love of a man for a woman - no matter whether on Earth on in Space - it would not have been entitled Solaris! Istvan Csicsery-Ronay, an Americanized Hungarian specializing in literary studies called his analysis"The Book is the Alien". Indeed, in Solaris I attempted to present the problem of an encounter in Space with a form of being that is neither human nor humanoid.

         Science fiction almost always assumed the aliens we meet play some kind of game with us the rules of which we sooner or later may understand (in most cases the"game" was the strategy of warfare). However I wanted to cut all threads leading to the personification of the Creature, i.e. the Solarian Ocean, so that the contact could not follow the human, interpersonal pattern - although it did take place in some strange manner. The method I used in the novel to demonstrate this was the particular outcome of the interest of people, who for over one hundred years have been studying the planet Solaris and the ocean covering its surface.

         One should not speak of a"thinking" or a"non-thinking" Ocean, however the Ocean certainly was active, undertook some voluntary actions and was capable of doing things which were entirely alien to the human domain. Eventually, when it got the attention of little ants that struggled above its surface, it did so in a radical way. It penetrated the superficial established manners, conventions and methods of linguistic communication, and entered, in its own way, into minds of the people of the Solaris Station and revealed what was deeply hidden in each of them: a reprehensible guilt, a tragic event from the past suppressed by the memory, a secret and shameful desire. In some cases the reader remains unaware of what has been revealed; what we know is that in each case it was capable of incarnation and physical creation of a being the hidden secret was connected to. Ocean's actions lead one of the scientists to an emotional distress that ended in a suicide, others isolated themselves. When Kris Kelvin initially arrived at the Station he was unable to understand what was going on: all were hiding and in the corridor he encountered one of the phantoms - a giant Black woman in a reed skirt with whom the suicide Gibarian presumably had been conflicted.

         Kelvin's recklessness and imprudent behavior in the past had not prevented the suicide of his beloved woman Harey. He buried her on Earth and in a sense he buried her in his mind as well - until the Ocean made her come back at the Solaris Station.

         The Ocean appears quite stubborn in his ways: the creatures, a kind of remorse of the Station's scientists, cannot be gotten rid of - even those sent into space come back... Kelvin initially tried to kill Harey; later he accepted her presence and tried to play the role he had to abandon on Earth - of her beloved man.

         The vision of the Planet Solaris was very important for me. Why was it important? The Solarian globe was not just any sphere surrounded by some jelly - it was an active being (although a non-human one). It neither built nor created anything translatable into our language that could have been"explained in translation". Hence a description had to be replaced by analysis - (obviously an impossible task) - of the internal workings of the Ocean's ego. This gave rise to symetriads, asymetriads and mimoids - strange semi-constructions scientists were unable to understand; they could only describe them in a mathematically meticulous manner, and this was the sole purpose of the growing Solarian library - the result of over a hundred years' efforts to enclose in folios what was not human and beyond human comprehension; what could not have been translated into human language - or into anything else.

         One of the reviewers admitted he would prefer to see Tarkovski's Solaris one more time. Others speculated that while the producer won't make a lot of money and there will be no crowd at the box office, the film belongs to the genre of a more ambitious science fiction - since no one got murdered and neither star wars, nor space-werewolfs nor Schwarzenegger's Terminators were present. In the US an atmosphere filled with very concrete expectations usually accompanies the release of every new film. I found it interesting that although my book is quite old - almost half a century means a lot in present times - someone wanted to take the risk despite the fact that the plot did not meet the abovementioned expectations. (Along the way he might have gotten scared a bit, but the latter is a pure speculation on my part.)

         The book ends in a romantic?tragic way; the girl herself wished to be annihilated, not wanting to be an instrument with the help of which the one she truly loves is being studied by some unknown power. Her annihilation takes place unbeknownst to Kelvin - with the help of one of Space Stations' residents. The Soderbergh movie supposedly has a different, more optimistic finale. If this were the case this would signify a concession to the stereotypes of American thinking regarding science fiction. It seems that these deep, concrete ruts of thinking cannot be avoided: either there is a happy ending or a space catastrophe. This may have been the reason for the touch of disappointment in some of the critics' reviews - they expected the girl created by the ocean to turn into a fury, a witch or a sorceress who would devour the main character, while worms and other filth would crawl out of her intestines.

         Solaris was submitted to the next year's Berlin film festival and in Poland the film will be shown only after the festival is over. Polish distributors obtained a copy of the movie, however I am not that eager to see it.

The information that Soderbergh started filming my novel (although no one knew what the film would be like) crated an increase in publishers' interest from different countries. In Germany Bertelsmann took over Solaris, while the Danes, Norwegians, Koreans and an Arabic publishing house (from Syria) - also expressed interest in that title. Publishers also enquire about my other works. However all of this is only a side effect and has nothing to do with the novel itself.

                   Summing up, as Solaris' author I shall allow myself to repeat that I only wanted to create a vision of a human encounter with something that certainly exists, in a mighty manner perhaps, but cannot be reduced to human concepts, ideas or images. This is why the book was entitled Solaris and not Love in Outer Space.

Stanislaw Lem, December 8th, 2002

索拉里斯具有无穷的魅力（索拉里斯）影评

       一部科幻片被索德伯格拍出纪录片的效果。

    当心理学家返回地球时，他并不觉得地球更不陌生。其实他已经不在地球，也不在太空，而是身处索拉里斯。
    索拉里斯，这个神秘的事物、神秘的地方，一方面他毫不客气的凸显在你的面前，你清楚它的所在，可同时，你对他一无所知。就像复活的爱人，他就在你面前，你对他那样熟悉，可那并不是他。
    索拉里斯是一个不解的谜，不是难解，而是在它的面前，我们都失去了解谜的欲望。最迷人的魅力不在你的微笑，而在微笑的背后，那乖异的感觉，那服从的感觉，像接过男童伸出的颤抖的手，让电流通过全身。
    索拉里斯，具有无穷的魅力。

很吸引我的是前后切手的细节，死亡仅是一个转折一个契机，血是爱情是拯救是希望是存在，启示就出现在那一刻，然而又被迅速遗忘。

因为之前看过塔可夫斯基的版本，所以总是下意识的拿两个版本比较，其实两个片子没有可比性，因为这部电影已经完全被索德伯格化了，完整的体现着索德伯格的个性和美学观，它情节完整，逻辑严谨，简洁生动，不同于老塔的开放性多义性版本，它们是两个导演的两种思路，是两个题材相近的不同电影。

我看错版本了TAT（索拉里斯）影评

起因是看《犯罪心理》时，ride邀请emily看苏联加长版的《Solaris》，我这就来了兴趣！！网上down下来看，却开始产生疑问，我看的这个版本，跟ride说的那个可能不是同一回事=A=

看完后上网再一查，真的找错版本了，ride说的那个是1972年导演安德列·塔科夫斯基拍的呐，我摔=A=

但看也看了，还是记个小记，以后补回1972年版好了。

02年这个版本的故事，开玩笑的说那是大家都掉进藏马的幻觉植物里了XD。Solaris这个星球，有股诡异的能量，他貌似有生命、有意识的迷惑接近她的人类。派去调查停留在Solaris附近太空站真相的科学家Dr.凯文在揭开事情真相的最后选择迷失在Solaris制造的假象中，与重生的妻子迈向“幸福”的生活。

电影中登场的人物很少，主要场景就只有五个人，最后唯一回到现实的只剩下黑人女科学家海伦、他从头到尾都很坚定的认为，大家遇到记忆中的实体造访者都是因为Solaris这个星球在干扰、影响了人们的大脑。

看到这里也就明白为什么编剧会让ride提起这部戏，几乎都是心理、潜意识、精神问题相关的SF剧，虽然这次看的版本不对，但也正好预习了一下剧情大概，苏联导演都有拍电影很晦涩的前科，预习过后，应该能很好的衔接72年版的电影。好期待！

片中关于凯文已经去世的妻子蕾亚重生这段，反而让人想探讨克隆人是新生命体还是承接原主意识的替代者这样的问题，就片中的描述，他妻子是Solaris根据凯文的记忆衍生出的生命体，海伦也能看到他说明蕾亚确实已经是个生命实体，尽管出自于Solaris星的一块肉，他死不了，但蕾亚确实是有独立意识的生命体。原本推论或许大家都被Solaris星影响了大脑，把眼前的幻觉看成了实体，但海伦制造的能量源能彻底清除来访者，那就直接否定了这个推导。

有个小细节，一开始凯文博士在所谓的现实中自己的家里切水果时，不小心切到自己的手，那伤口口子，非常的大，还大的有点假，反倒是后来掉落Solaris星外围一瞬间的幻觉中，回到过去蕾亚还在的场景里那伤口口子变真实了，导演又想把解读的钥匙交给影迷发散思考开去了吗？！我再摔！！！太嫩了啦！！想超越晦涩的苏联导演乃太嫩了啦！！！！

 

◆ 片　　名：飞向太空 / 索拉力星
◆ 制　　片：詹姆斯·卡梅隆（James Cameron）　
◆ 导　　演：史蒂文·索德伯格（Steven Soderbergh）　
◆ 编　　剧：史蒂文·索德伯格（Steven Soderbergh）　
◆ 主　　演：乔治·克鲁尼George Clooney
　　　　　　娜塔莎·麦克艾霍恩Natascha McElhone
　　　　　　杰瑞米·戴维斯Jeremy Davies
　　　　　　维奥拉·戴维斯Viola Davis
　　　　　　乌尔里希·图科Ulrich Tukur 　
◆ 类　　型：奇幻（Fantasy）惊悚（Thriller）
◆ 国家地区：USA　
◆ 语　　言：English
◆ 发行公司：福克斯（20th Century Fox）　
◆ 制作公司：USA影业（USA Films）
◆ 首映日期：2002年11月27日　
◆ 片　　长：99分钟

 

幕后：

本片改编自著名波兰科幻小说作家斯坦尼斯洛·兰姆的同名科幻小说，而早在1972年，大名鼎鼎的塔可夫斯基就已经把它搬上了银幕。小说本身已经充满了对生命的思考，老塔的版本更是充满了内省和对灵魂的诘问。该版本诗意盎然，有个场景，男女主人公因失重而漂浮，仿佛夏加尔的画中人似，半空飞舞，堪称影史经典。

起初导演索德伯格对拍摄这部科幻影片并不太感兴趣，因为他从来没有拍摄过类似的题材，而且他对表现未来的科技也兴趣索然。可是当他回忆起曾经看过的小说与电影时，他答应了20世纪福克斯公司的拍摄邀请。而詹姆斯·卡梅隆和雷·桑奇尼，还有扬·兰道所在的光风暴公司 (Lightstorm Entertainment)则花了五年的时间与俄罗斯方面交涉，解决版权等等问题。对卡梅隆来说，拍摄《飞向太空》几乎是个梦幻般的计划，他认为小说的故事全都发生在回忆与想像中，因而可以有无限开放的表现空间。索德伯格答应拍摄的消息让他大为激动。于是我们看到的是明星制作班底：以《泰坦尼克》获奥斯卡奖的卡梅隆，和以《毒品网络》获奥斯卡奖的索德伯格。

与库布里克和斯皮尔伯格不同，索德伯格在拍摄中并未强烈突出未来的高科技，而是更多集中在故事和人物的发掘上。然而科幻影片的硬件依然是重要的，影片的制作设计莫西纳曾经与索德伯格在《11罗汉》、《永不妥协》等多部影片中合作，这次他给影片设计了压抑的内部空间。光线的设计也与情节密切相关：“我们想让‘普罗米修斯’号既真实可感，又如梦似幻。”

索德伯格拍摄的电影题材越来越多变了，从现实主义的《性、谎言和录像带》，到惊悚的《卡夫卡》、惊险不失幽默的《至激关系》，一直到情节复杂、人物众多的《毒品网络》、《11罗汉》，他正如卡梅隆所说，如同变色龙一般灵活。

[演员]

心理学家，离家若乾光年，面对死而复生的妻子和其他光怪陆离的事件，这样的角色绝对难以驾驭。索德伯格想到的第一个人选就是与他合作过《至激关系》和《11罗汉》的乔治·克鲁尼，而后者也欣于从命，并且非常珍视这个机会。但是看上去无论如何没有知识分子相的克鲁尼，要使自己的角色让人信服，想来并非易事。

在片中扮演妻子蕾亚的英国演员娜塔莎·麦克艾霍恩，曾经出演了《楚门的世界》、《拯救毕加索》、《浪人》等等影片。索德伯格对她评价甚高：“她让我想起了60、70年代法国那些极其优秀的女演员，比如让娜·莫罗，和多米尼克·桑德。她们是机智、性感、复杂的女人，不是姑娘，而是女人。”也许期待她的演出，比期待克鲁尼的心理学家更有些道理？

影片只有五个角色，其中扮演举止古怪的年轻科学家斯诺的是杰瑞米·戴维斯。这个角色在索德伯格的设想中，需要与其他的人有强有力的互动，他的表演要有种怪异的能量，显出特殊的张力。杰瑞米·戴维斯？对，就是《百万美元酒店》里那个可爱的难以置信的TomTom，《拯救大兵瑞恩》里也有他。这个人曾经因为在大卫·罗素(David O. Russell)的影片《打猴子》(Spanking The Monkeys)里的表演获得过独立精神奖的最佳新人。

第四个角色是女科学家海伦，意志坚强，由和索德伯格合作过两次的维奥拉·戴维斯扮演。那个开始就死去的吉巴里安则由德国演员乌尔里希·图科扮演，他在德国是家喻户晓的明星。吉巴里安舱里的录像带，后来揭露了一切的真相。
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有塔可夫斯基的珠玉在前，要说对索德伯格版的《飞向太空》拭目以待，似乎有点虚伪。尤其最近以来，他的《11罗汉》和后来似乎要回到《性、谎言和录像带》那样的独立精神之作《正面全裸》风评都不甚佳。只能说《飞向太空》让人捏了把汗，担心会是又一部好莱坞风格的惊悚科幻片
 记于2011-03-26 14:13