For style guide’s sake, I will call this movie Solyaris while the supposedly misunderstood masterpiece by Steven Soderbergh will be Solaris, which I’ll write about in that Viola Davis retrospective that I’m too lazy to do. I also heard that it expands on the original’s love story.
Despite beginning by looking into a wide lake’s reeds, Solyaris is a breeze compared to Andrei Tarkovsky’s other work. Rublev is comprehensible and straightforward enough despite its three-hour running time, Stalker devastating in its showing of the longest non-magic tricks ever. It makes me feel like a young luddite not remembering anything plot wise from Zerkalo but do you? What probably makes me think that this movie is fast paced – clocking in at two hours and forty-six minutes – are the quick cuts in the sequence portraying a non-hostile interrogation of a man who has previously been to the space station near the titular planet. It also adds to this eerie aura because the witness can’t corroborate his testimony with video footage, subverting the ‘show, not tell’ adage and successfully heightening the mystery.
Yes, despite its big budget, it has cheap sets, a grievance I have in other classic movies, but that criticism tries to make the movie sound like it also features Gondry’s cardboard box aesthetic. I treated this lightly. The protagonist, Kelvin (Donatas Banionis), travels to a space station near a planet with strange magnetic waves, throwing rules of physics and even life off-kilter. Everything is grubby and made of plastic, buttons are unlabeled and look similar, other characters stuck in the station smoke and light candles and tobacco occasionally, there are master bedrooms and flammable books. But what makes the movie enigmatic is the resurfacing of Kelvin’s wife, either as wishful thinking or a gift from the planet. Mrs. Kelvin’s love towards her husband adds to her heart wrenching pleas to prove herself human to the space station’s men. Her conundrum can be seen as an allegory of prejudice but how can we sympathize when her existence crosses the boundaries that science irreverently crosses.
The romance in Tarkovsky, in my humble opinion, is enough and even surpasses its Western equal in the well-crafted but overrated 2001:A Space Odyssey. Solyaris will no longer be showing for now. But I hope that this post goes live just in time for the last movie featured in TIFF’s Attack the Bloc retrospective, Piotr Szulkin’s film rendition of the Golem story, screening at the Lightbox tonight at 9PM. Images via TIFF and cine y literatura.