8.1/10
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243 user 151 critic

Solaris (1972)

Solyaris (original title)
A psychologist is sent to a station orbiting a distant planet in order to discover what has caused the crew to go insane.

Director:

(as Andrey Tarkovskiy)

Writers:

(novel) (as Stanislav Lem), (screenplay) (as F. Gorenshteyn) | 1 more credit »
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Popularity
2,234 ( 280)

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2 wins & 4 nominations. See more awards »
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Cast

Cast overview, first billed only:
...
...
...
Doktor Snaut, kibernetik (as Yuri Yarvet)
Vladislav Dvorzhetskiy ...
Anri Berton, pilot
Nikolay Grinko ...
Nik Kelvin, otets Krisa Kelvina
...
Olga Barnet ...
Mat Krisa Kelvina (as O. Barnet)
Vitalik Kerdimun ...
Syn Anri Bertona (as V. Kerdimun)
Olga Kizilova ...
Gostya doktora Gribaryana (as O. Kizilova)
Tatyana Malykh ...
Plemyannitsa Krisa Kelvina (as T. Malykh)
Aleksandr Misharin ...
Shanakhan, predsedatel komissii Anri Bertona (as A. Misharin)
Bagrat Oganesyan ...
Professor Tarkhe (as B. Oganesyan)
Tamara Ogorodnikova ...
Anna, tetka Krisa Kelvina (as T. Ogorodnikova)
Sos Sargsyan ...
Doktor Gribaryan, fiziolog (as S. Sarkisyan)
Yulian Semyonov ...
Predsedatel nauchnoy konferentsii (as Yu. Semyonov)
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Storyline

The Solaris mission has established a base on a planet that appears to host some kind of intelligence, but the details are hazy and very secret. After the mysterious demise of one of the three scientists on the base, the main character is sent out to replace him. He finds the station run-down and the two remaining scientists cold and secretive. When he also encounters his wife who has been dead for ten years, he begins to appreciate the baffling nature of the alien intelligence. Written by Dan Ellis

Plot Summary | Plot Synopsis

Genres:

Drama | Mystery | Sci-Fi

Certificate:

PG | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

|

Release Date:

26 September 1972 (Czechoslovakia)  »

Also Known As:

Solaris  »

Filming Locations:

 »

Box Office

Budget:

RUR 1,000,000 (estimated)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

| (unapproved cut)

Sound Mix:

Color:

(Eastman Double-X Negative Film)| (Eastman Color)

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

This is over an hour longer than the remake, Steven Soderbergh's Solaris (2002). See more »

Goofs

In the Library during and immediately after Dr. Snaut's birthday party, the heights of the candles and the center post of the candelabra change between shots. See more »

Quotes

Kris Kelvin: When I sleep, I know no fear, no hope, no trouble, no bliss, Blessing on him he who invented sleep. The common coin that purchases all things, the balance that levels the shepherd and king, fool and wise. There is only one bad thing about sleep. They say it closely resembles death.
See more »

Connections

Referenced in Out of the Present (1997) See more »

Soundtracks

The Well-Tempered Clavier, Book II: Prelude and Fugue in F minor - BWV 881
Composed by Johann Sebastian Bach (as I. S. Bakh)
See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
The magic of not knowing where we're going....
22 March 2006 | by (United Kingdom) – See all my reviews

Like the majority of reviewers here, I rate this film as one of the most profound viewing experiences I can remember. While the IMDb guidelines recommend avoiding reference to specific reviews of Solaris within this section, I strongly believe that there is much to be learnt about this movie by evaluating those reviews as a whole.

This is clearly either a love or a hate movie. Those who love it describe in detail its effect on them, the feelings it evokes, its significance and the depth of its philosophical enquiry. Those who hate it largely describe it as too slow-paced; boring.

What matters to me about this film which I first watched as mesmerised 15 year old is that it is almost entirely the antithesis of Classical Hollywood cinema. It came from behind the Iron Curtain (that dark place whose strange and hidden 'otherness' has, like the plot of any modern movie, now also been laid wide open by capitalist 'democracy'). Its actors were unknown - more like real people than the celebrities the West populates its movies with. Its pace was slow, mesmeric, hypnotic and atmospheric. It was completely free of the kind of 'good triumphs over evil' motif that riddles Hollywood film-making, where 'good' is white-ness, wealth, youth, Westernness and so on.

The pleasure of Solaris was that I didn't know what I was watching. I didn't know who I was watching. I didn't know the culture it reflected and - most importantly - I didn't know what was going to happen.

Perhaps its only in re-watching the 1971 Solaris that it becomes apparent to me that somewhere along the way we have been stripped of the right to not know; robbed of the true narrative thrill of being led into the dark, magical forest of the unknown.


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