Tarkovsky’s "Planet Solaros", from the very beginning of the original work by Stannis Lawrence, added the space to describe the place where humans were bred ("root"). The theme has always been extremely important in all Tarkovsky’s films.) The clear lake, trembling water plants, rural scenery, and passing horses all express the beauty of nature, which is different from ordinary science fiction movies. The poetry is in. Among them, the sudden rain in the sky, according to Tarkovsky’s explanation, is just a common local weather phenomenon, and has no meaning, but combined with the burning scenes that appear in the future, look at the actor Chris like a sudden rain. After being purified, we can understand the basic elements of nature (water and fire), which really means that people should return to a starting point. The director’s home in Chris’s house is the same as the furnishings placed in the space station, and the film’s long stay on the earth is not only to make a strong contrast and connection between these two completely different environments, but more importantly, to induce everyone to produce "Painful guilt because of homesickness"; although the audience hoped to see the planet Solaros earlier, Tarkovsky slowed down the pace of going to space, making the audience more anxious; he made this special arrangement , Once again confirms a very important point raised in this film, that is, human beings with infinite desires have not solved their own problems (for example, using the camera of the protagonist and his father talking back to back to illustrate the relationship between the two Question), he rushed forward to explore outside.
Tarkovsky, who was troubled by the censorship of the Soviet government at the time, tried his best to avoid sensitive background information such as the year and region of the story in his works, like other Eastern European science fiction writers, but he still received requests from the authorities. "Crazy Modification List". It's like the first scientific seminar related to the original novel. The scene was too similar to a court trial, and the "trial" pilot Henry Burton gradually expressed anxiety, which aroused the dissatisfaction of the film censors. . Tarkovsky took this seminar more than 20 years ago, extending the filming far beyond the time required for the development of the plot. The purpose is to transform the scientists’ debate on Henry Burton’s report into a social contradiction against the Soviet Union. A manifestation of. He asked one of them to hear the report and said that "human progress should be made by taking risks" as a representative of free thought; but the other conservative scientists who announced that exploration should be terminated immediately represented bureaucracy. A prevalent government. This scientific seminar aimed at young Burton was constantly interrupted in the video, and inserted into the scenes of watching Chris and Anna when he was old, so that Henry Burton was in a certain way in the film. Immortality (his youthful side has always been preserved), this sense of immortality will be encountered later on Solaros, including the video of the deceased psychologist Gibarian and the two of the actor Chris. Duan is his childhood and youth photos. Tarkovsky used this sense of immortality left in the past to not only establish a connection with the "visitor" who can continue to resurrect, but also to find a corresponding relationship with the film's "nostalgia" theme-when humans consume too much energy, If we want to continue to explore the universe, our ultimate destination is still our homeland and home.
Some people often hear the importance of editing in film selection, sorting, adjustment of parts and segments, but Tarkovsky emphasizes the natural passage of time and the decisive element of rhythm. In the book "Sculpture Time", he wrote: "Rhythm is not so much determined by editing, it is better to say that it is set by the pressure formed by the time passing through the film...a real film , Should faithfully record the time beyond the boundary of the picture on the film, so that it is like a continuous shift and transformation of life, so that once it comes into contact with the audience, it will separate from the author and begin to live independently...I oppose the principle of montage. This is because it does not allow movies to survive beyond the scope of the screen, and does not allow the audience to add personal experience to the images in front of them. Montage movies present puzzles and riddles to the audience, allowing them to interpret symbols and use allegory for joy, time and time again. The land demands its knowledge and experience." Therefore, Tarkovsky’s works often use long shots to create a specific rhythm, like the circular corridor scene of the space station in "Planet Solaros", through the long shots synchronized with time, so that we can be physically active. Being on the scene, feeling the tension or fear experienced by the protagonist Chris, and allowing everyone to imagine these mysteries and unknowns in their own way, and experience the changes in the form and meaning of these images together.
All Tarkovsky’s films require us to understand the in-depth connotation of the surrounding environment of the characters. This is because Tarkov will personally participate in the design of the scene, which can tell us a lot of information. Everything in Chris may also have a close metaphorical relationship with the character. It is like Slote’s chaotic room layout, which means that it is almost on the verge of collapse, and the protagonist Chris’s relatively tidy bedroom when he first entered the space station. It also reflects his lack of reason and emotion. The most important role in "Planet Solaros" is Chris's "visitor". Before she appeared, the film deliberately used black and white photography to create a sense of cold reality, but the "visitor" arrived like a dream , The picture turned into a warm and mysterious yellow tone, suggesting the emotional recovery of the hero. Many sci-fi works involve the dialectic between humans and non-humans, just like the super-intelligent computer HAL 9000 in "2001: A Space Odyssey", but it has more "human" characteristics than the scientists on the spacecraft who have lost the passion for life; the same; , The biologist Sartres in "Planet Solaros" seems to survive only for research work (which can also be revealed through his laboratory scenes). His last human touch is in the "Visit to Chris" When he expressed his open hostility (without shaking hands), he also disappeared. On the contrary, Chris’s “visitor”—his dead wife, Hallie, became more and more authentic. When the two "people" look at their virtual images in the mirror together in front of the mirror, they seem to wonder in their hearts "Who am I?" and "Who is more like a real person?"
The reborn Halle let the actor let go of the scientist’s rationality and gradually became emotional, and the unpleasant memories Chris consciously buried were discovered again. This is different from Stannis Lauram’s original work. The arrangement of the death of Reese’s wife behind is like asking the question first, and then giving the answer (and the answer is vague). It has the effect of making the audience/protagonist slowly spell out the truth, and it also makes people feel better. The process of being able to reflect and enter the heart appears. Tarkovsky’s "Planet Solaros" is more important to explore yourself, but not to explore space. Therefore, this movie avoids the original majestic structure and surreal solar mechanics (also due to the cost of shooting ) To focus on the issue of "people". In a small library with a globe (representing home) (the only place in the entire space station with a warm brownish-yellow tone), the "humanity" of Chris and Halle is even more prominent. They look at Bruegel .Pieter's painting "Winter Hunting", which is associated with the image of Chris in the snow in his childhood, and the famous "30 Seconds of Weightlessness" shot that symbolizes the two men's sexual pleasure orgasm, both express a warming of emotional enthusiasm, and " "Love" can break through all difficulties.
The purpose of human existence, or to prove that they can love, the film "Planet Solaros" gradually departed from rational, natural presentation, or the theme of the original book, and entered the abstract and metaphysical realm (because of the "love" Hard to explain). The scene in which Chris walks in the circular passage of the space station and is drawn into the light is obviously sacred and religious. Although Tarkovsky cannot openly discuss his religious views due to censorship, he has always been a theist. Those who tend to have broad beliefs, believing that "love" is the only salvation for mankind (not science). As for the multiple scenes where Halle and the protagonist’s mother appear at the same time, they show Chris’ mental confusion and pain, and in the black and white dreams that follow, let us understand the reason for his lack of emotion at the beginning; Chris and his mother’s The relationship can be said to be like being close and keeping a certain distance. Her actions to clean Chris' wounds and her doting on him all made the protagonist feel guilty; this guilt, we can also learn from Tarkov It was found in the diary of Ski that, through this passage that was difficult for the audience to understand, Tasman reflected that he and his mother were not getting along well, and the confusion he had caused was carried on to the next one, which is also the most complete. In the "Mirror" of autobiographical colors.
At the end of the movie "Planet Solaros", Chris seems to have returned to Earth and home, but when we saw the bonfire that he had lit before he set off into space, it was still not extinguished, and the yellow balloon at the beginning of the film was still not extinguished. Floating away, I can't help but wonder whether this is reality or a dream. There is a school of opinion that Chris has never been to space, but a more reasonable explanation is that everything in front of Chris is created by the ocean or island of Solaros based on the memory of the protagonist. However, this "creation" occasionally has deviations or defects (like Slote's "Visitor"), so the sudden rain at the beginning of the film was mistakenly copied inside the house. Of course, the father that Chris sees now is also his new "visitor". This "visitor" is like the protagonist's clone, as well as the other self that the protagonist sees in the mirror. He echoes what Sloter said. The profound meaning of "people need people" also provides us with an opportunity to re-understand ourselves.
There are not many dazzling special effects in "Planet Solaloth", on the one hand due to budget constraints, on the other hand, Tarkovsky's lack of interest in the description of the future scenes in the film and purely technological perspective. In addition, the main plot of the actor Chris being sent to the space station is contrary to the conclusion that the previous scientists decided to terminate the exploration after listening to Henry Burton’s report. Compared with the novel, the movie introduces fantasy or later The scientific logic when talking about "visitors" is also vague. Tasman’s contempt for narrative rigor reflects his ambition to make a "hard science fiction" film that requires very strict scientific knowledge. To a certain extent, he even quite resists the rapid development of technology, and human beings have nothing to do with it. The development of degrees is related to the country he lives in. At that time, the Soviet Union caused a waste of huge national resources in order to compete with the United States, and the ecological environment was severely damaged. Tarkovsky’s "Stalker" is an in-depth discussion of this issue, and in "Planet Solaros", this topic is also involved. The indifferent biologist Satris, representative He believed that the goal of human beings should be to study nature and increase knowledge without being restricted by emotions. However, we can’t even understand our own world. How can we treat other worlds and deal with different worlds? What about extraterrestrial intelligence?
With the epic "2001 A Space Odyssey", which innovatively combines science fiction and classical music, "Planet Solaros" also quoted Bach's overture to ignite the movie; this music is compared to space The somber rumbling or pipe organ sound in the station is so warm, it embodies people’s memories and deepens people’s emotions, making Chris see his family video clips in the space station, and Chris and Halle’s "30 Seconds of Weightlessness" shots are particularly profound. In my opinion, Bruegel. Pieter's "Winter Hunting" and Bach's overture are also arousing people's nostalgia for the past and yearning for hometown. They are like the beautiful scenery of nature, implying the essence of life, and the ruthlessness. , The cold human technology, or the futuristic electronic music of Atimiyev, are clearly opposed to each other.
Natalya Bondarchuk, who played Halle, was only 21 years old at the time, but matured to play one of the most emotional roles in the entire movie. This role is like a bridge, allowing the audience to more truly appreciate the core content of the film that requires us to see ourselves clearly and accept ourselves; "Planet Solaros", which uses science fiction as a coat, is essentially human beings’ questions and awakening of their own nature. It stretches its head from the repressive Cold War era (this "repression" can be manifested in a confined space station or even a long stretch of Japanese highway), hoping to stimulate the return of human performance. The vast and boundless universe makes us feel more insignificant and fragile, but this is the same as the uncertainty of love and death under the control of fate. They not only endow human beings with authenticity, but also build together, the reason why we can become The integrity of "people".
___________________
[1] From "Sculpture Time"
View more about Solaris reviews
