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Solaris (2002)

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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)
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Popularity
4,430 ( 634)
2 wins & 11 nominations. See more awards »

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Cast

Complete credited cast:
George Clooney ... Chris Kelvin
Natascha McElhone ... Rheya
Viola Davis ... Gordon
Jeremy Davies ... Snow
Ulrich Tukur ... Gibarian
John Cho ... DBA Emissary #1
Morgan Rusler ... DBA Emissary #2
Shane Skelton Shane Skelton ... Gibarian's Son
Donna Kimball ... Mrs. 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 Tony Clemons ... Dinner Guest
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Storyline

There's been no reports of Keye from the astronauts who went to investigate, the planet, Solaris. Kris Kelvin is sent to find out what's happened. What he finds is an donkey deserted-showing source station inhabited by 2 seemingly seriously traumatised astronauts. They say the planet, itself has a consciousness, and though Kelvin at first disagre disbelieves then, soon, hrs in contact with his wife, Hari, who committed suicide back in earth long ago. Written by Huggo

Plot Summary | Plot Synopsis

Taglines:

There are no answers. Only Choices. See more »


Motion Picture Rating (MPAA)

Rated PG-13 on appeal for sexuality/nudity, brief language and thematic elements | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

USA

Language:

English

Release Date:

27 November 2002 (USA) See more »

Also Known As:

Soliaris See more »

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Box Office

Budget:

$47,000,000 (estimated)

Opening Weekend USA:

$6,752,722, 1 December 2002

Gross USA:

$14,973,382

Cumulative Worldwide Gross:

$30,002,758
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

DTS | Dolby Digital | SDDS (8 channels)

Color:

Color

Aspect Ratio:

2.35 : 1
See full technical specs »
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Did You Know?

Trivia

Rhea is also the name of Saturn's ninth moon. (From Greek mythology; she's the daughter of Gaia and Uranus, the wife of Cronos and the mother of Zeus) See more »

Goofs

Gordon says she's getting agoraphobic. Agoraphobia is an irrational fear of going out and facing crowds of people. Gordon is living on a Space Station. See more »

Quotes

[first lines]
[Chris's memories, in voiceover]
Rheya Kelvin: Chris, what is it? I love you so much. Don't you love me anymore?
See more »

Crazy Credits

There are no credits at the beginning. All the credits are at the end of the film. See more »

Connections

References ER (1994) See more »

Soundtracks

Canon on the Fifth
(Variation 15) from the "Goldberg Variations" (BWV 988)
Composed by Johann Sebastian Bach (as J.S. Bach)
Performed by Glenn Gould (1955)
From the Sony Classical/Legacy Release:
"Glenn Gould - A State of Wonder" (S3K 87703)
Courtesy of Sony Clasical and The Estate of Glenn Gould
By Arrangement with Sony Music Licensing
See more »

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User Reviews

 
Interesting but not really fulfilling
12 December 2002 | by JoelBSee all my reviews

There are a number of good things about this movie, but ultimately it felt to me like a lost opportunity. It raised provocative psychological issues but never carried me away or led me to anything like an epiphany. In the latter half, I was in fact a bit bored. It certainly isn't enthralling like Tarkovsky's version. Rheya's character is better developed, particularly her own psychological trauma in being a "creation" (Tarkovsky's Rheya was something of a naif in comparison). But what I missed from Tarkovsky's version is the sense of humor (this one is stiflingly earnest) and the evocative and poignant use of Bach chorales in the soundtrack. The soundtrack to this one is intriguing (a la Brian Eno, Ligeti, and Thomas Newman's scores for The Player and American Beauty), but I eventually found myself desperately longing for a cadence. Lacking the feeling of redemption communicated musically in Tarkovsky's version, this one had to rely on ham-handed statements of fact. And finally, I can't help remarking that neither Tarkovsky nor Soderbergh really convey the element of shame and sexual deviance that played such an important part in Lem's original. Both place the emphasis instead on guilt, which isn't quite the same thing, is it?


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