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Solaris (2002)

Trailer
1:41 | Trailer

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ON DISC
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
4,521 ( 103)
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

Dr. Gibarian, part of a team at a space station studying Solaris, makes an urgent and self-described bizarre video request to his friend, civilian psychiatrist Dr. Chris Kelvin, to come to the station to deal with an unspecified phenomenon aboard, that phenomenon with which Chris' experience and background may be able to explain and solve. Chris learns that his trip is sanctioned by the space program as a security force had been sent to the station to investigate, that security team which is now missing. When Chris arrives at the station, he finds only two surviving team members, Drs. Gordon and Snow (Dr. Gibarian committed suicide), who are both acting nervously. Chris also finds two unexpected people there, the first, who Chris only sees fleetingly, being Dr. Gibarian's adolescent son Michael, and the second being Chris' deceased wife, Rheya. Chris and Rheya had a passionate relationship in all its good and bad before she committed suicide. Apparently, these appearances of loved ... Written by Huggo

Plot Summary | Plot Synopsis

Taglines:

How far will you go for a second chance? 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, 27 November 2002, Wide Release

Gross USA:

$14,970,038, 9 February 2003
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
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Did You Know?

Trivia

Was originally given an R rating by the MPAA primarily due to a pair of shots of George Clooney's nude rear end. Steven Soderbergh appealed the decision, citing that similar content (and worse) had appeared on network television. Soderbergh won the appeal and the movie was granted a PG-13 rating. See more »

Goofs

George Clooney is shown traveling in a sleek slightly futuristic rapid transit train but the rear projection/blue screen out the window clearly shows the current day "Merchandise Mart" station of the Chicago CTA Subway. Also during his journey the train he passes going the opposite direction is a present day subway train. 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?
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Crazy Credits

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

Connections

Referenced in Gilmore Girls: You've Been Gilmored (2006) 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
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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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