索拉里斯

"How can you be so sure if you don't know whether it is real or not?" If you cannot prove it but you choose not to believe, why cannot I choose to believe?Like Carl Popper said, scientists have been trying hard to distinguish themselves from metaphysicians, however, science in itself involves a huge amount of metaphysics. Because it is based on a lot of very fundamental assumptions that you can never prove.This world, I would like to say, is contaminated by materialism. There was once a time we people could tolerate and probably accept the existence of all different kinds of believes and we all tried so hard to understand this world. But now, like what scientists would not like to admit, we adore science too much as the flies' passion on rotten foods. We suddenly stopped thinking. We are satisfied with what we have and we are crazy playing with it. We are not only enjoying it, we want more. Still not knowing what we are and why we are here, we keep a thirst for the things that we don't even know if we are supposed to possess.All creatures, with or without a brain, do stupid things when they are satisfied. Once upon time we were so happy declaring that we were unique. However, after years, we turned no more than the dirty monkeys in Gulliver's trip. So we came to Solaris, with great ambition and unexplainable confidence. We came here for the entire human race on the Earth, although we still don't have a single clue of what we are on that planet for.A lot of humanists sensed this huge question mark. Kubrick's 2001 also demonstrated a possibility of getting closer to the keys of big questions by not depending on science too much. If there are most arrogant scientists, the craziest words they could possibly say might be, ok gentlemen, we are familiar enough with our planet. Only the most stupid of the most arrogant believe that we can explain things even out of this planet, such as in Solaris, using what we learnt on Earth.I know that my interpretation involves some subjective thoughts and feelings. However, I can be sure that Soderbergh doesn't deny the possibility of multiple explanations of the world or the universe and he believes that we have the right to choose among them. "Hello, Neo. Look, here is a Matrix inside which people live regularly with rules created by God and guaranteed by computers. Also, you have the power of destroying it. What do you think? To be, or not to be?"Solaris is such an elegant movie with profound retrospection, beautiful photography and reasonably good acting. It is set on a stage that seems so strange but so familiar. It could be Solaris. It could also be inside our mind. Soderbergh reminded us again, that if there is anything that makes us human race so special, it is the spirit we possess. It is that we do something that the creatures who only have a brain cannot understand.

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

片子开头是淅淅沥沥的雨声，暖色的灯光从挂满雨珠的窗户透出：心理学家克里斯·凯尔文博士孤独的坐在房间的床上，女声响起：“我是如此的爱你，你还爱着我吗？

”然后是一些莫名其妙的对话，有克里斯自己的电话，也有几个他的病人对博士的倾诉（都是对现代科技的控诉），总体看来，克里斯的生活是不快乐的，脸上有着哀伤神情的他似乎只是靠着本能在麻木地工作。

长驻在空间站“普罗米修斯”号上的朋友吉巴里安的录影电话让克里斯到达了围绕着索拉里斯星球旋转的空间站。

吉巴里安在电话里告诉克里斯，空间站里的科学家由于某种原因陷入了混乱，然而他们谁都不愿意主动离开空间站。

在克里斯到达“普罗米修斯”号以后，发现情况远比想象中严重，吉巴里安已经自杀身亡，另外一位科学家也尸横当场，幸存的年轻科学家斯诺举止怪异，女科学家海伦情绪极度不安。

是什么，让这里的一切都陷入了疯狂和混乱之中？

克里斯渐渐沉入了梦中，那里有着他永远不会忘怀的一张脸——妻子蕾亚：地铁上的初次相会，黑衣的她嘴角的神秘微笑；餐厅里的再次相遇，他的眼睛再也离不开她的脸；他们在公寓里的缠绵，他们在书店里的私语，这是他每一夜都会重复的梦魇。

然而这一次不同，当他悚然惊醒，发现妻子蕾亚并不只存在于梦中，她活生生的在身旁，还是那样轻声细语着：“我是如此的爱你，你还爱着我吗？

”本片的情节次第展开，而且其中不少谜团都吸引观众去探究背后的真相。

克里斯的生活发生了什么事情？

在“普罗米修斯”号上发生了什么事情？

那扇金属门的后面等着克里斯的究竟是什么？

吉巴里安的儿子为什么会在空间站里出现？

克里斯的妻子究竟是他自己的想象还是鬼魂作祟？

但是当事情的真相在片子的中段早早水落石出后，索德伯格才逐步展现出自己对于这部重拍片的真正思考：当死去的至爱重新回到你的面前，给了你一个挽回过错的机会，即使知道这一切都是幻影，你是否仍然不舍得放弃？

是得到真实的肉体更重要，还是弥补我们记忆中的伤痕更重要？

你记忆中的一切都是真实，抑或那些只是你的愿望和欲望的投影？

这是一则死亡和记忆交织的寓言，当我们走到最后，出人意料的结尾多少有点突兀，克里斯最终得到了解脱吗？

他脸上复杂的表情竟然让我无从判断。

起因是看《犯罪心理》时，ride邀请emily看苏联加长版的《Solaris》，我这就来了兴趣！！

网上down下来看，却开始产生疑问，我看的这个版本，跟ride说的那个可能不是同一回事=A=看完后上网再一查，真的找错版本了，ride说的那个是1972年导演安德列·塔科夫斯基拍的呐，我摔=A=但看也看了，还是记个小记，以后补回1972年版好了。

02年这个版本的故事，开玩笑的说那是大家都掉进藏马的幻觉植物里了XD。

Solaris这个星球，有股诡异的能量，他貌似有生命、有意识的迷惑接近她的人类。

派去调查停留在Solaris附近太空站真相的科学家Dr.凯文在揭开事情真相的最后选择迷失在Solaris制造的假象中，与重生的妻子迈向“幸福”的生活。

电影中登场的人物很少，主要场景就只有五个人，最后唯一回到现实的只剩下黑人女科学家海伦、他从头到尾都很坚定的认为，大家遇到记忆中的实体造访者都是因为Solaris这个星球在干扰、影响了人们的大脑。

看到这里也就明白为什么编剧会让ride提起这部戏，几乎都是心理、潜意识、精神问题相关的SF剧，虽然这次看的版本不对，但也正好预习了一下剧情大概，苏联导演都有拍电影很晦涩的前科，预习过后，应该能很好的衔接72年版的电影。

好期待！

片中关于凯文已经去世的妻子蕾亚重生这段，反而让人想探讨克隆人是新生命体还是承接原主意识的替代者这样的问题，就片中的描述，他妻子是Solaris根据凯文的记忆衍生出的生命体，海伦也能看到他说明蕾亚确实已经是个生命实体，尽管出自于Solaris星的一块肉，他死不了，但蕾亚确实是有独立意识的生命体。

原本推论或许大家都被Solaris星影响了大脑，把眼前的幻觉看成了实体，但海伦制造的能量源能彻底清除来访者，那就直接否定了这个推导。

有个小细节，一开始凯文博士在所谓的现实中自己的家里切水果时，不小心切到自己的手，那伤口口子，非常的大，还大的有点假，反倒是后来掉落Solaris星外围一瞬间的幻觉中，回到过去蕾亚还在的场景里那伤口口子变真实了，导演又想把解读的钥匙交给影迷发散思考开去了吗？！

我再摔！！！

太嫩了啦！！

想超越晦涩的苏联导演乃太嫩了啦！！！！

◆ 片　　名：飞向太空 / 索拉力星◆ 制　　片：詹姆斯·卡梅隆（James Cameron）　◆ 导　　演：史蒂文·索德伯格（Steven Soderbergh）　◆ 编　　剧：史蒂文·索德伯格（Steven Soderbergh）　◆ 主　　演：乔治·克鲁尼George Clooney　　　　　　娜塔莎·麦克艾霍恩Natascha McElhone　　　　　　杰瑞米·戴维斯Jeremy Davies　　　　　　维奥拉·戴维斯Viola Davis　　　　　　乌尔里希·图科Ulrich Tukur 　◆ 类　　型：奇幻（Fantasy）惊悚（Thriller）◆ 国家地区：USA　◆ 语　　言：English◆ 发行公司：福克斯（20th Century Fox）　◆ 制作公司：USA影业（USA Films）◆ 首映日期：2002年11月27日　◆ 片　　长：99分钟幕后：本片改编自著名波兰科幻小说作家斯坦尼斯洛·兰姆的同名科幻小说，而早在1972年，大名鼎鼎的塔可夫斯基就已经把它搬上了银幕。

小说本身已经充满了对生命的思考，老塔的版本更是充满了内省和对灵魂的诘问。

该版本诗意盎然，有个场景，男女主人公因失重而漂浮，仿佛夏加尔的画中人似，半空飞舞，堪称影史经典。

起初导演索德伯格对拍摄这部科幻影片并不太感兴趣，因为他从来没有拍摄过类似的题材，而且他对表现未来的科技也兴趣索然。

可是当他回忆起曾经看过的小说与电影时，他答应了20世纪福克斯公司的拍摄邀请。

而詹姆斯·卡梅隆和雷·桑奇尼，还有扬·兰道所在的光风暴公司 (Lightstorm Entertainment)则花了五年的时间与俄罗斯方面交涉，解决版权等等问题。

对卡梅隆来说，拍摄《飞向太空》几乎是个梦幻般的计划，他认为小说的故事全都发生在回忆与想像中，因而可以有无限开放的表现空间。

索德伯格答应拍摄的消息让他大为激动。

于是我们看到的是明星制作班底：以《泰坦尼克》获奥斯卡奖的卡梅隆，和以《毒品网络》获奥斯卡奖的索德伯格。

与库布里克和斯皮尔伯格不同，索德伯格在拍摄中并未强烈突出未来的高科技，而是更多集中在故事和人物的发掘上。

然而科幻影片的硬件依然是重要的，影片的制作设计莫西纳曾经与索德伯格在《11罗汉》、《永不妥协》等多部影片中合作，这次他给影片设计了压抑的内部空间。

光线的设计也与情节密切相关：“我们想让‘普罗米修斯’号既真实可感，又如梦似幻。

”索德伯格拍摄的电影题材越来越多变了，从现实主义的《性、谎言和录像带》，到惊悚的《卡夫卡》、惊险不失幽默的《至激关系》，一直到情节复杂、人物众多的《毒品网络》、《11罗汉》，他正如卡梅隆所说，如同变色龙一般灵活。

[演员]心理学家，离家若乾光年，面对死而复生的妻子和其他光怪陆离的事件，这样的角色绝对难以驾驭。

索德伯格想到的第一个人选就是与他合作过《至激关系》和《11罗汉》的乔治·克鲁尼，而后者也欣于从命，并且非常珍视这个机会。

但是看上去无论如何没有知识分子相的克鲁尼，要使自己的角色让人信服，想来并非易事。

在片中扮演妻子蕾亚的英国演员娜塔莎·麦克艾霍恩，曾经出演了《楚门的世界》、《拯救毕加索》、《浪人》等等影片。

索德伯格对她评价甚高：“她让我想起了60、70年代法国那些极其优秀的女演员，比如让娜·莫罗，和多米尼克·桑德。

她们是机智、性感、复杂的女人，不是姑娘，而是女人。

”也许期待她的演出，比期待克鲁尼的心理学家更有些道理？

影片只有五个角色，其中扮演举止古怪的年轻科学家斯诺的是杰瑞米·戴维斯。

这个角色在索德伯格的设想中，需要与其他的人有强有力的互动，他的表演要有种怪异的能量，显出特殊的张力。

杰瑞米·戴维斯？

对，就是《百万美元酒店》里那个可爱的难以置信的TomTom，《拯救大兵瑞恩》里也有他。

这个人曾经因为在大卫·罗素(David O. Russell)的影片《打猴子》(Spanking The Monkeys)里的表演获得过独立精神奖的最佳新人。

第四个角色是女科学家海伦，意志坚强，由和索德伯格合作过两次的维奥拉·戴维斯扮演。

那个开始就死去的吉巴里安则由德国演员乌尔里希·图科扮演，他在德国是家喻户晓的明星。

吉巴里安舱里的录像带，后来揭露了一切的真相。

[闲言碎语]有塔可夫斯基的珠玉在前，要说对索德伯格版的《飞向太空》拭目以待，似乎有点虚伪。

尤其最近以来，他的《11罗汉》和后来似乎要回到《性、谎言和录像带》那样的独立精神之作《正面全裸》风评都不甚佳。

只能说《飞向太空》让人捏了把汗，担心会是又一部好莱坞风格的惊悚科幻片记于2011-03-26 14:13

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/

(2008-02-20 00:19)我会幻想张柏芝，bobo，钟欣桐，maggie Q，C10等著名女星，接着幻想一部高性能尼康数码相机。

当然还要幻想一个粗点的JJ，只要比陈香肠的JJ大些就可以啦！

solaris不就是天堂吗？

扯啥，人类本能就是希望自己不死。

不过，麦克阿瑟说了，老兵不死，其他人都去死！

　　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

I didn't like Solaris much. I knew it was a drama and a romance, but it's also supposed to be a mystery and a Sci-Fi. There was about 10 minutes of mystery, and nothing really too thrilling about it. There were situations that you definitely wanted to be explained and to know what happened, but that was a very small part of the movie, and the rest of the time I was left with a boring romance that just happened to be in space (that's why it's a Sci-Fi). If you are into emotional romantic dramas, you probably could really like this, especially since it stars George Clooney. If not though, you'll probably be just as bored as me. 我不喜欢 Solaris。

我知道这是一个剧本和浪漫故事，但它也是一个谜团和科幻。

影片大约有10分钟的谜团，但也并不会很恐怖。

也会有一部分情节是你会真的很想有人给你解释发生了什么，但也不会太多这样的情节，更多的是一些比较无聊的浪漫情节，并且刚好是在太空发生，这也就是为什么我说这是科幻电影。

如果你喜欢有剧情的浪漫戏剧，你大概可以真的很喜欢这个，尤其是因为乔治 · 克鲁尼主演。

不然你可能会就像我一样觉得无聊。

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

这电影看的那叫一个郁闷。

找工作找的反胃，躲在出租屋里看pp。

刚开始看星际迷航，正沉迷于星舰的撞击，就充满期待的点来Solaris。

主角手破那会儿我正以为要来场，地球超人大战外星怪物呢。。。

谁想一直到我看完影片，也就个3D红球球在那转啊转的，看的那叫一个郁闷啊！

主角开始难道就不是个“人”，就后那个穿着宇航服要回地球时的回忆，一下子把我给打击翻了，最后的结局更是让我想到了一个人，哦？

也许不对，或许这玩意儿叫神——God。

主角是“人”的时候送走那个女人，是不是在讲理智的面对感性呢？

选择留下来到底是选择了什么？

做为一种脆弱的生命体的仿制体，拥有着同样脆弱的精神领域，这是不是一种进化不完整的体现？

完整的进化体现是否应该是那个球球呢？

没有感觉，没有语言，却拥有完整的，或者说是种强大的存在？

混乱的想法就像那个有胡子的小伙子，杀死自己人类的形态，或者说是杀死自己原型的生命体，是得到了完整的自己，还是失去了自己完整？

这电影根本就没有去太空，完全就是对不完美或者说是对难以琢磨的神经系统的哲学思考。

试着摆脱物质生命体的存在，思考精神独立存在的可能，如同那些玄幻网络小说中的游戏。

当思想离开本体独立存在于某种介质当中，没有死亡的威胁一切都可以再次组合，这到底是永生还是灭亡？

神话里盘古开天辟地从球里诞生，他是不是在追寻从思想到生命体的进化？

这个想法有点傻，神话应该是先祖们对自我存在的思考，应该是思想的存在。。。

没有谁能解释一下生命和思想原点，进化论依旧还在进化之中，也许还会任然进化下去。

谋杀、贪婪、欲望、控制、文明……延续的生命延续着这一切，直到某一天的到来。

是科学计算的太阳毁灭地球，还是科学计算的陨石毁灭地球，或者是人类毁灭地球……似乎我们总会被毁灭，在一切被毁灭之前，明天我还要去找工作，然后……到底要干嘛？