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no Chekhov or Dostoevsky, though from the amount of dialogue one could imply he fancies himself one. Having a character, a few minutes into the film, begin to invoke Nietzche as if the even-well-educated are intimately familiar with his oevre is almost unforgivable snobbism, especially since it seems this reference plays a major part in the film's meaning.
Two key women are deemed so "weak" (indeed, one of them becomes unhinged in a way so melodramatic I found myself embarrassed for her) that they both need strong medicating while the men are just fine, thank you! Wow, that certainly dates the film.
The Sven Nykvist cinematography is wonderful and Tarkovsky's justly famous ability to match it to wonderful music is perfect but it isn't enough for a film to be well-crafted: it must have some sense to it, some purpose.
At the center of the film is the old man's relationship with his son: for all his protestations, the boy is never shown true afffection nor is he presented often enough for the audience to become even fond of him.
Even Tarkovsky's failures, of course, are interesting.
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Follow Ups:
It was a homage to Bergman, and from that perspective it succeeded, I believe. It can be argued that Tarkovsky, given his own stature, did not have to do a homage, but that is between him and his maker now... and the film does not quite raise to the level of best Bergman's work, but it has a recognizable flavor, for sure...For this reason of derivation I do not consider this movie a masterpiece in its own right, but you are right, being a Tarkovsky work it must be seen, as it is a part of fine movie making history.
To understand the director better, you must look at his 1993 Tempo di viaggio - a documentary where he speaks a lot about his artistic vision.
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;^)
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to the near the end sequence in 2001, you know, the psychedelic-color trip.
Tark did it so much more cleverly, efficiently, effectively.
I had to interrupt my yesterday viewing of Solaris but will complete it today.
So far, the memories which I've compartmentalized these past thirty years or so are valid: it's brilliant, disconcerting.
Have you seen Andrei Rublev? Kind of like Stravinsky's "Rite of Spring." Like nothing before.
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Sorry timear, but IMHO, that tunnel sequence has to be one of the most boring, unimaginative scenes in the history of film! (~{^O) Zzzzzzz.
is shocking, but much less so than the contrasting jump cut.
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Maybe my tastes and your's are a bit different here, but in this instance I'd rather use my spousal unit as a gauge. My wife is very contemporary in her thinking (in assessing what is or isn't boring media) and a pretty good judge of cinema. We don't always agree (our tastes in film vary as well), but we're in sync about this film; FYI, she considers Solaris a real snoozer too.Sorry tinear, but as I see it, Solaris is about as palatable as that plastic turkey King George II tried to serve hungry U.S. troops while schmoozing the WH press corps in that infamous Thanksgiving Iraqi photo-op a couple of years back.
I still laugh to death remembering how hysterical you got every time someone did not like your beloved LOTR... good that you are not getting any of that pre-adolescent reaction in return. You don't like the Solaris - then you don't like the Solaris.
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If I'm not mistaken, LoTR won more Academy Awards than any series of films since the Academy was formed including Best Picture, but the fact that Tolkien's books and the films they inspired are popular is of little consequence in this discussion (any more than your belaboring the importance of your favorite European grey poupon fare ad infinitum has merit).OTOH, if you want to discuss or debate how boring an achievement Tarkovsky's Solaris manages to be irrespective of Lem's work just to defend your own tunnel vision, then be my guest! I'm sure that tinear will gladly clean the pidgeon droppings off of your gargoyle-like facade perched high atop the Paradise Theater, Mr Roboto. :o)
***that tunnel sequence has to be one of the most boring, unimaginative scenes in the history of film!No, that "honor" squarely belongs with the LOTR monumental piece of shit.
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;^)
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His work is extraordinary poetic and strong.
Certainly one of the most powerful in film history.
Long live the Russian soul!
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