By: debbie lynn elias
Based on the Stanislaw Lem novel of the same name, and an updated version of the 1972 Russian classic by Andrei Tarkovsky, this 2002 version of “Solaris” is a sci-fi movie without too much sci-fi. A love story? Yes. A tale of human nature, love, loss and the divine? Without a doubt. But sci-fi? No. And that is a good thing.
George Clooney stars as psychologist Chris Kelvin. Having recently lost his wife to suicide, Kelvin is at a loss as to “why” and although able to help those around him, he is unable to find the way through the darkness of his own life. In the midst of his angst, Kelvin is sent by the government to investigate the strange and erratic behavior of a group of scientists on the space station Prometheus which is currently orbiting the newly discovered planet of Solaris. With no explanation, the crew of Prometheus has severed all communication with Earth. Reluctant to accept the assignment, Kelvin has a change of heart on seeing a cryptic communique from his friend Gibarian who is aboard Prometheus, asking that Kelvin, and Kelvin alone, come to the space station. On arriving, Kelvin is shocked to discover Gibarian dead, having committed suicide after dealing with a being who looks a child. Deserted but for two remaining crew members, Gordon and Snow, Kelvin begins to unlock the mysteries of Prometheus and Solaris, by initially learning that all who have been or are remaining on Prometheus have experienced ghostly apparitions and visitations, resulting in death or near madness. Doubtful yet intrigued, Kelvin awakens the following morning to find his dead wife Rheya smiling down on him with all the brilliance of a noon day sun. Thinking himself crazed, he “disposes of her”…but not for long as she reappears, seemingly real as real can be, oblivious to her suicide and steadfastly devout in her love for Kelvin. Is it Rheya or is this some apparition which now haunts Kelvin? Is Solaris giving Kelvin a second chance at love, not to mention restitution and redemption for Rheya’s suicide or is some unknown intelligence toying with his mind?
It’s at this point writer/director, wunderkind Steven Soderbergh strays from both the book and Tarkovsky’s take on it, as he supplies us with flashbacks of Kelvin and Rheya, turning “Solaris” into a romantic drama, taking us from courtship to suicide and laden with thought provoking questions about life, the enduring power of love and the hereafter. Soderbergh, a master of emotion, poses open-ended questions giving one pause to think and wonder.
Written and directed by Soderbergh and starring the indescribably delicious George Clooney, much of “Solaris” – in both dialogue and scenery – mirrors its predecessor, but this version is an entity unto itself, a shining example of cinematic excellence. While Tarkovsky’s version dealt with issues involving parents and aging interspersed with an “Outer Limits” kind of feeling, Soderbergh eliminates excess baggage and political undertones, going straight for the heart, tugging and pulling with pure honesty and emotion.
Clooney, known for his charming persona, and more recently, for being suave and debonair, exudes a newfound intensity and passion, drawing you into his psyche and its complexities, his pain and his anguish, yet allowing the audience to take a step back if need be and just “watch.” If there was ever an Oscar caliber performance, this is it. Giving Clooney that extra edge is Natasha McElhone as Rheya. Essentially playing four characters (you’ve got to see it to believe it), McElhone balances her various personas and emotions as if walking a tightrope, never missing a step. Viola Davis, although limited in screen time, gives a strong performance as Helen Gordon, who walks her own tightrope between science and religion. Jeremy Davies, on the other hand, adds that much needed bit of quirkiness and “what the hell” attitude, much as Steve Buscemi did in “Armageddon”. With a film of such a limited cast (in number only – not on talent), dialogue, character interaction and matching strengths and vulnerabilities are essential. Under Soderbergh’s guidance, same is achieved brilliantly and done so with deceptive effortlessness.
Soderbergh’s screenplay, trimmed to quick 96 minutes, is sparse yet effective. Sleek space-aged set designs by Philip Messina combined with Soderbergh’s cinematography and minimalist approach to direction only serve to enhance the emotional elegance of “Solaris.”
One of the few true Oscar candidates of the year, this is an all around masterpiece. Emotional and thought provoking, “Solaris” will haunt you for days after leaving the theater. And as for the recent ratings controversy involving Clooney’s naked butt, move over Mel, there’s a new butt in town and Christmas just came early for the women of the world.
