索拉里斯

本以为是72年的塔可夫斯基版，结果片子一开始，克鲁尼出来，看看他的年纪就知道这是个新版的于是将就着先看了2002年的这个索德伯格版应该说没有让我失望吧，很安静的片子，很美的画面，很动听的配乐，行云流水，却让人有种时间静止下来的感觉，看完了觉得有点恍惚翻看了很多评论，有人大骂烂片，有人吹捧得天花乱坠的，正如IMDB上一句评论：It's certainly not a film for everybody... 也看到原著作者的一个评论，说索德博格拍的不是他小说里想写的，至少他写的绝不是简单的Love in the outer space...哈哈，觉得挺搞笑的不过觉得索导驾驭情节的能力还是挺强的，毕竟商业化的电影，把一本很小众的小说拍成这样挺不错了。

　　這是根據電影史上最佳科幻片之一的《星球疏拉里斯》（Solaris）重拍的荷里活版本。

影片改編自波蘭科幻小說作家斯坦尼斯洛．蘭姆（Stanislaw Lem）的同名科幻小說。

而早在1972年，蘇聯導演安德烈．塔可夫斯基（Andrei Tarkovsky）就已經把它搬上了銀幕。

小說本身充滿了對人類生命的思考，而電影版本更是充滿了人類的內省和對靈魂的詰問。

蘇聯版本也已經使人感到詩意盎然，其中有個場景，男女主角因失重而漂浮飛舞在空中，堪稱電影史上經典的一幕。

史提芬．蘇德堡是當今荷里活新一代的優秀導演之一，他非常了解電影和觀眾的關係，明白什麼是觀眾能注意到的，什麼是觀眾容易忽視的，什麼是必須要做的，什麼是可有可無的錦上添花，因此他善於發揮電影的優勢而拍出很好看的電影。

起初他對拍攝這部科幻影片並不太感興趣，因為他從來沒有拍攝過類似的題材，而且他對表現未來的科幻也興趣索然。

可是當他回憶起曾經看過的小說與電影時，他答應了霍士公司的邀請。

而美國Lightstorm Entertainment公司則花了五年的時間與俄羅斯方面交涉，解決版權等問題。

史提芬．蘇德堡在一次採訪中提到，對於未來世界的視覺想象力，他自認不足，所以在本片中沒有對未來世界的全景展示。

本片中的大部分鏡頭都是中鏡和近鏡，極少的幾個全景鏡頭都是關於太空、空間站、飛船和「索拉羅斯」星球的。

另外在拍攝中並未強烈突出未來的高科技產品，這樣雖然缺乏電影常有的特技和視覺衝擊，但影片則完全集中在人物關係上和故事的發掘上。

《星球索拉羅斯》是一部有自己獨特風格的科幻電影。

因為科幻電影並不光是預言未來會怎樣，而營造出一些現實世界中沒有的情境來考驗人性的真偽也是其目標之一。

再有設計的壓抑的內部空間站、與情節密切相關的變幻莫測的光線，這都使得「索拉羅斯」號空間站既真實感人，又如夢似幻。

http://hk.movies.yahoo.com/040219/173/x8ik.html

索拉力星到底是个什么情况？

有什么寓意么？

索拉力星创造的人到底和真实的地球人有什么区别？

飞船飞向索拉力星，最后的结局说明了什么？

克里斯进入到另一个时空？

看完了感觉一脑子浆糊啊

看完了这部披着科幻外衣讲述凄美爱情的《索拉里斯》， 还可以，给四星，多一星是给乔治克鲁尼的！

电影讲述在未来某年，在外太空的空间站“普罗米修斯”上驻扎的一个科学家小组切断了空间站和地球的所有联系。

心理学家克里斯·凯尔文博士受命去调查。

空间站围绕着一个液体星球Solaris旋转，这个星球蕴藏着神秘的能量。

到达后，凯尔文发现有人神秘自杀，另外两人则情绪极度不稳定。

Solaris让他死去多年的妻子蕾亚重新复活，给了他第二次爱情的机会！

电影的主题其实很简单，就是告诉人们要珍惜当下，别等到犯错失去才知道后悔惋惜，不然一切都只会成为回忆，过往的一切终将会围困你不堪一击的心灵，陷落在往昔的点滴残梦里，苦苦挣扎，建造起一个与世隔绝的世界，在那里只有你和曾经美好的一切！

纵使一切只是幻梦，人们也愿意选择活在过去的回忆里，希冀一切可以重新来过，改写命运！

她的脸轮廓分明，眼睛大而有些神经质。

比起普遍可见的娇美主角，《Solaris》里的女主人公或许缺乏某种让人一见倾心的特质。

她也微笑，但次数不多，隐没在嘴角忧郁掩盖了欢颜，那表情甚至带有些诡异的不可确定性。

然而，当她沉静在逆光下，微皱着眉，明暗相间的侧颜被久久定格时，你才觉得，这张耐人咀嚼的脸孔，和飘渺无定的宇宙实在太过相称。

我不记得她的名字，只记住了飞船舷窗外所见到的紫色星球的名字：Solaris。

终于没有激光束、漫天流窜的飞行器、或者眼鼻错位的外星生物。

很安静。

索德伯格把空间本身的寂静无声展示给你看。

你看，一无所有，神秘莫测。

许多导演在诠释“科幻”一词时，喜欢将科学表现得冷硬而乖张。

我并不欣赏充斥着金属、爆破、军团阵势的科幻电影。

它们中的大多数，只剩下3D特效卖力地撩人眼球(也许还掺和着英雄主义和或宿命论)。

脱离这些元素便无法体现幻想的伟力?那真太丧气了。

当然，其中一些拍得并不差，只是看多了令人厌倦而观者的厌倦是电影缺乏想象的最好证明。

Solaris这颗被朦胧气雾包裹的星球因此显得与众不同。

飘浮于大气上端的闪电状光芒仿佛独自呢喃没人猜得出涵义。

它沉默、女性化、自始至终不露情感，立场模糊地周旋在善恶之间。

太空舱里不明所以的变化展示了它幽暗的力量。

电影的多数场景在一艘太空船里，由四个演员完成。

没有剧烈的冲突，镜头是安静的，对话和回忆是安静的，结尾淹没在Solaris光芒四溢的神秘里，仍是安静的。

当带有未来幻想式的具体描摹被降低到最低程度，科幻的另一种气质便得以体现。

不是所有故事都要展示原委，一个在地球上已经逝去的女人怎么凭空出现？

又是何种构成？

不甚明了。

有时候事物难以被定义、解释和预知。

人们身处浩淼世界，其实所见惨淡。

能掌握的无非自己那一方微小的行动和情感。

我们幻想的真的是世界的样子？

还是面对陌生领域所体验到的震颤、恐惧、新奇，以及思索。

科幻片里可以有很多外星人，很多高科技，很多你死我活，可我要说：这让人觉得遥远隔膜，事不关己。

幻想连结于内在。

早前看过的《这个男人来自地球》是更好的作品（或许是我看过的最好的科幻？

）。

这故事固然神异、富有想像力，但更让人赞叹的是它安静简单的表述方式。

他们围坐在炉火边谈话，仅是谈话，连多余的姿势也没有。

很难想像仿若午后闲谈的场景里，蕴含着信仰、永生、传奇等最为深远的遐想。

成本一万美元。

安静的幻想并不单薄，相反都是值得溺爱的梦。

http://bluelyra.ycool.com/

　　 索拉里斯星——与记忆的博弈 　　 　　 前苏联作家斯坦尼斯拉夫.莱姆写的科幻小说《索拉里斯星》先后被俄国电影大师塔可夫斯基和美国电影奇才索德伯格拍成电影，可见这部小说的价值所在。

从小说改编的两个电影版本里，能初步打探到作者的写作中心——人类和自身记忆的故事。

　　 索拉里斯星是人类尚在研究中的星球，科学家发现该星球内部能释放出“复制人类”的神奇力量，几乎每一个在索星上工作的科学家都被这种力量所困扰，只要还有记忆，这种力量便会创造出人所思恋，已不在世间的人，也就是可以“再生”人。

　　 一个为失去妻子而悔恨的丈夫奉命到索拉里斯营救被困在飞船上的科学家，但当其到达目的地后，即被那股神奇的力量给勾引，死去的妻子复活了，在他眼前出现了长发飘逸的景象和熟悉的味道，同时在脑海里，妻子的影像也如胶片般重复滚动。

女郎的相貌和声音与妻子毫无区别，只是话语中多了些停顿，仿佛在等待男人进一步回忆往事。

实质上，酷似妻子的女人并非妻子，她只是靠隐匿在索拉里斯星球上那股神奇力量而存在的物质，其一切特征均来源于男人自身的记忆。

　　 尽管“复活”并非真的起死回生，但留给观众的却是浓浓诗意，如果电影是根据童话小说改编，这种诗意还将继续，可惜原著小说已被冠以了“科幻”之名，使这部影片朝现实更靠近了一些，甚至在观影途中，人都会时刻联系现实，微颤胆寒的自问道：这样的“复生”在将来会发生吗？

　　 小说家在一定程度上是根据现实生活里的现象创作，《索拉里斯星》无疑是在人类的记忆之海上做文章，记忆是一个人过去时的状态，并非所有过去都记得清楚，但总有那几个明晰的记忆点，这明晰的记忆点将萦绕人的一生，就算再理性的科学家也会陷入记忆的泥潭，犹如《索拉里斯》中的男主角，在索德伯格的版本里，他最终被“记忆之海”给带走，而索拉里斯星表面的金黄色光芒实质也就是象征着“记忆之海”。

那股神秘的力量哪怕没有索星的存在，也会被人们在某刻“创造”出，只不过人类创造的过去停留在脑中，索星则能生产摸得着，闻得到的过去。

　　 《索星》完成的是小说家寻找过去和杞人忧天的使命，可以设想作者也曾有一位心仪的姑娘，可是早已失去了联系，于是便创造出索拉里斯这个地方，通过那里的神奇力量能将逝去的景象复现。

但在渴望复现过去的同时，小说家也对自己的这种奢望饱含忧虑，《索拉里斯星》中的主人翁是使妻子离开的罪魁祸首，如果以前珍惜着她，也便不会有失去，更不至在外星球上被记忆的假象给困恼。

然而像“与其追慕着已消失的精彩，不如珍惜正在身边的事物”的箴言恐连作者都难做到。

　　 塔可夫斯基将《索拉里斯星》作为自己“诗电影”创作的又一里程碑，在之前的《伊万的童年》以及《镜子》中，他通过诗意的叙事手法表达了对父母，年轻时代情人的追忆。

《索拉里斯星》则是其对妻子（所爱之人）的追慕，影片的故事没有结尾，观众只能在最后看到索拉里斯星表面耀眼的光芒，但在打字幕的时候，巴赫的大提琴音乐再次响起（第一次是在主角回忆妻子时），使电影笼罩在浓浓的宗教氛围里，这也给电影增添了一层与宗教相关的解释，或许在某种层面上，宗教、记忆分别代表着人类世界的过去与个人的过去。

　　 《索拉里斯星》一方面实现了作者、主人翁和观众的非现实理想，另一方面却打消着人们追寻过去的念头，犹如索德伯格电影版本中一位飞船上的科学家所言：长期陷进假象里，人只会走向灭亡。

看来记忆中明晰、美丽的点也是一朵带毒刺的玫瑰，人类必须拿出大智慧与其博弈。

也许看过这部电影的人，对克里斯与妻子蕾雅的初遇中电梯间里朗诵的那首诗有印象，它在电影中再次出现是蕾雅自杀身亡那一刻攥在手中的一页诗集……上网寻找了许久，总算找到了这首出自Dylan Thomas的杰作：And death shall have no dominion.Dead men naked they shall be oneWith the man in the wind and the west moon;When their bones are picked clean and the clean bones gone,They shall have stars at elbow and foot;Though they go mad they shall be sane,Though they sink through the sea they shall rise again;Though lovers be lost love shall not;And death shall have no dominion. And death shall have no dominion.Under the windings of the seaThey lying long shall not die windily;Twisting on racks when sinews give way,Strapped to a wheel, yet they shall not break;Faith in their hands shall snap in two, And the unicorn evils run them through;Split all ends up they shan't crack;And death shall have no dominion.And death shall have no dominion.No more may gulls cry at their earsOr waves break loud on the seashores;Where blew a flower may a flower no moreLift its head to the blows of the rain;Though they be mad and dead as nails,Heads of the characters hammer through daisies;Break in the sun till the sun breaks down,And death shall have no dominion.没有看过电影原著，因而对其与原著之间纠缠不清的关系不予评论，升华了原著也好，糟蹋了原著也好。

我只想说，史蒂文·索德伯格拍出了这首诗的灵魂。

“Though lovers be lost love shall not”恋人失散，即便阴阳相隔，爱却依然永存，这甚至令死亡都无可奈何，于是，死亡无法再主宰一切，即便癫狂，却仍能再次清醒，即便沉沦深海，却能再次升腾。

当净骨成灰散尽，却在其手肘足底化出璀璨星辰……相爱的人，灵魂将永远以彼此为羁绊，不分离，即便，即便再次相遇的地方，是在那遥远光年外的solaris……

我觉得，索德伯格的改编版本与塔可夫斯基在本质上没什么区别，只是将它通俗化了，他们共同想要表达的是：人类到底存不存在，是不是尘世一切只不过是更高级生命体的臆想。

这种思考方式比[黑客帝国]更虚无。

茫茫宇宙中流动的电波与Chris睡觉时脑波活动是呼应的。

事实上，他们都是电波，还没有人能够证明这两者没有关联。

很多人曾说过：21世纪，人们上天入地，但是对于支配这种高难度行为的人脑，却仍然知之甚少。

记忆是什么，意识是怎么产生的，和这个客观世界有什么联系？

很多人觉得主导中心思想的一段话是关于Dylan Thomas 关于死亡的那首诗。

但我觉得，影片想讲的，大过”死亡“。

宇航员，心理学博士。

他们以他们的经历，知识，认知，一同讲述着这个超乎寻常的故事。

虽然故事并未包含太多的科学理论和奇幻情节，但是这个故事包含着一个最宏大，最基础，最深远的科幻观：存在。

当Dr. Gordan极力主张毁灭“来访者”时 ，Chris发表的这段话值得好好体会："你的来访者是谁？

是什么？

它有感情么，能够触碰么？

会说话么？

你怎么能断定，它不是生命？

你不能就此封锁它，扼杀它，单单因为它超出你的理解范围！

"从Gordan与Chris的第一次座谈时就能体会到，Gordan尚存理性，能客观地分析自己的精神状况，对行为作出审慎的分析。

从Snow断断续续的描述来看，Gordan也是反对回地球的主要原因，这其中包含着一定的责任情节（如果把这些"visitor"带回去会否引发灭族威胁？

），也包含着科学家的傲气情节（一定能够用战胜这个科学难题和处理好这些visitors). 虽然她也对失控充满着恐惧，她对于自己所理解的那个“科学”还是充满信仰的。

Chris却不同，情感，这一他所擅长处理的东西却很快侵袭了他，支配者他，让他产生畏惧，或者说，让他无所畏惧。

Gordan和Snow somehow已经切断了自己的情感线，因此他们再没有visitor到访，而Chris的妻子确是去了又来，死了又活，还同时出现几个，如记忆中一样脆弱，迷离，因为那是永远存在在他心中的爱。

有一个细节很多人都注意到了：片头，Chris切开手指时，那道伤口是个旧伤，甚至留不出血来。

他的那些病人所讲述状态：对世事无感，行尸走肉，其实就是他的写照，用他自己的独白来说：用尽全力仿造地球人，凹出生活的造性，这，不是存在。

但是片尾，当飞船撞向Solaris时，Chris再度看到自己切开了手指，献血如注，他抬头，看到了妻子，对他说：生死已不再重要，我们在一起了。

或许，飞船撞向的那个星球，并不是Solaris, 而是我们自己的心。

Gibarian在他的遗言录像中曾经说道: We don't want a new world, we want mirrors.

The Solaris StationAfter the premiere of this remake of the Tarkovski movie I read a number of critical reviews, which appeared in American press. The divergence of opinions and interpretations was enormous. The Americans in a somewhat childish manner "grade" films just like children's papers in school. Hence there were critics who gave Soderbergh's Solaris an "A", the majority agreed on a "B" and some gave it a "C".Some reviewers, like the one from the "New York Times", claim the film was a "love story" - a romance set in outer space. I have not seen the film and I am not familiar with the script, hence I cannot say anything about the movie itself except for what the reviews reflect, albeit unclearly - like a distorted picture of one's face in ripply water. However, to my best knowledge, the book was not dedicated to erotic problems of people in outer space... I cannot say anything reasonable about its creation - the book somehow "poured out of me" without any previous planning and I even had difficulties with the ending. However since I wrote it over forty years ago, from today's perspective I perceive it in a much more objective and rational way. I am also capable of finding analogies to other works, located in high regions of the world literature. Melville's "Moby Dick" could serve as an example; on the surface the book describes the history of a whaling ship and Capitan Ahab's pernicious quest for the white whale. Initially the critics destroyed the novel as meaningless and unsuccessful - after all why care about some whale the captain most likely would have converted into a number of cutlets and barrels full of animal fat? Only after great analytical efforts the critics discovered that the message of "Moby Dick" was neither animal fat nor even harpoons. Since much deeper, symbolic layers were found, in libraries Melville's work was removed from the "Adventures at Sea" section and placed elsewhere. Had Solaris dealt with love of a man for a woman - no matter whether on Earth on in Space - it would not have been entitled Solaris! Istvan Csicsery-Ronay, an Americanized Hungarian specializing in literary studies called his analysis "The Book is the Alien". Indeed, in Solaris I attempted to present the problem of an encounter in Space with a form of being that is neither human nor humanoid. Science fiction almost always assumed the aliens we meet play some kind of game with us the rules of which we sooner or later may understand (in most cases the "game" was the strategy of warfare). However I wanted to cut all threads leading to the personification of the Creature, i.e. the Solarian Ocean, so that the contact could not follow the human, interpersonal pattern - although it did take place in some strange manner. The method I used in the novel to demonstrate this was the particular outcome of the interest of people, who for over one hundred years have been studying the planet Solaris and the ocean covering its surface. One should not speak of a "thinking" or a "non-thinking" Ocean, however the Ocean certainly was active, undertook some voluntary actions and was capable of doing things which were entirely alien to the human domain. Eventually, when it got the attention of little ants that struggled above its surface, it did so in a radical way. It penetrated the superficial established manners, conventions and methods of linguistic communication, and entered, in its own way, into minds of the people of the Solaris Station and revealed what was deeply hidden in each of them: a reprehensible guilt, a tragic event from the past suppressed by the memory, a secret and shameful desire. In some cases the reader remains unaware of what has been revealed; what we know is that in each case it was capable of incarnation and physical creation of a being the hidden secret was connected to. Ocean's actions lead one of the scientists to an emotional distress that ended in a suicide, others isolated themselves. When Kris Kelvin initially arrived at the Station he was unable to understand what was going on: all were hiding and in the corridor he encountered one of the phantoms - a giant Black woman in a reed skirt with whom the suicide Gibarian presumably had been conflicted. Kelvin's recklessness and imprudent behavior in the past had not prevented the suicide of his beloved woman Harey. He buried her on Earth and in a sense he buried her in his mind as well - until the Ocean made her come back at the Solaris Station. The Ocean appears quite stubborn in his ways: the creatures, a kind of remorse of the Station's scientists, cannot be gotten rid of - even those sent into space come back... Kelvin initially tried to kill Harey; later he accepted her presence and tried to play the role he had to abandon on Earth - of her beloved man. The vision of the Planet Solaris was very important for me. Why was it important? The Solarian globe was not just any sphere surrounded by some jelly - it was an active being (although a non-human one). It neither built nor created anything translatable into our language that could have been "explained in translation". Hence a description had to be replaced by analysis - (obviously an impossible task) - of the internal workings of the Ocean's ego. This gave rise to symetriads, asymetriads and mimoids - strange semi-constructions scientists were unable to understand; they could only describe them in a mathematically meticulous manner, and this was the sole purpose of the growing Solarian library - the result of over a hundred years' efforts to enclose in folios what was not human and beyond human comprehension; what could not have been translated into human language - or into anything else. One of the reviewers admitted he would prefer to see Tarkovski's Solaris one more time. Others speculated that while the producer won't make a lot of money and there will be no crowd at the box office, the film belongs to the genre of a more ambitious science fiction - since no one got murdered and neither star wars, nor space-werewolfs nor Schwarzenegger's Terminators were present. In the US an atmosphere filled with very concrete expectations usually accompanies the release of every new film. I found it interesting that although my book is quite old - almost half a century means a lot in present times - someone wanted to take the risk despite the fact that the plot did not meet the abovementioned expectations. (Along the way he might have gotten scared a bit, but the latter is a pure speculation on my part.) The book ends in a romantic?tragic way; the girl herself wished to be annihilated, not wanting to be an instrument with the help of which the one she truly loves is being studied by some unknown power. Her annihilation takes place unbeknownst to Kelvin - with the help of one of Space Stations' residents. The Soderbergh movie supposedly has a different, more optimistic finale. If this were the case this would signify a concession to the stereotypes of American thinking regarding science fiction. It seems that these deep, concrete ruts of thinking cannot be avoided: either there is a happy ending or a space catastrophe. This may have been the reason for the touch of disappointment in some of the critics' reviews - they expected the girl created by the ocean to turn into a fury, a witch or a sorceress who would devour the main character, while worms and other filth would crawl out of her intestines. Solaris was submitted to the next year's Berlin film festival and in Poland the film will be shown only after the festival is over. Polish distributors obtained a copy of the movie, however I am not that eager to see it. The information that Soderbergh started filming my novel (although no one knew what the film would be like) crated an increase in publishers' interest from different countries. In Germany Bertelsmann took over Solaris, while the Danes, Norwegians, Koreans and an Arabic publishing house (from Syria) - also expressed interest in that title. Publishers also enquire about my other works. However all of this is only a side effect and has nothing to do with the novel itself. Summing up, as Solaris' author I shall allow myself to repeat that I only wanted to create a vision of a human encounter with something that certainly exists, in a mighty manner perhaps, but cannot be reduced to human concepts, ideas or images. This is why the book was entitled Solaris and not Love in Outer Space.Stanislaw Lem, December 8th, 2002