索拉里斯

他所看到的，是他所回忆的吗？

仅仅是他回忆的吗？

为何有些又在他回忆之外，超出他的控制？

我们都做过梦，梦中的，只是“日有所想，夜有所梦”吗？

他所爱的，是什么？

是他的妻子？

是他记忆中的妻子？

还是，只是他自己？

你所爱的呢？

你是的那个TA？

是TA的离去而在你世界中的投影？

还是，你根本就是爱你自己？

他为什么爱这个长像相他妻子的她？

是爱屋及乌？

是自欺欺人？

还是爱情转移，或者寻找替代品？

他明知这个此她非彼她，他为什么还不离不弃？

我们所欢呼那个诗情画意般Though lovers be lost，love shall not是很美这是善意的谎言吗？

假如在你死之后他持续的思念和爱并非对你而是对他所想象的“双胎胞”妹妹不知道，我们所奋力呕歌的是否就是如此爱情？

然而，爱情又是如何？

主体为谁？

受体为谁？

为谁而作？

你的爱情呢？

你爱谁？

你身边的TA是我记忆的投影吗？

你的父母？

你的前朋友？

或者，你在同时拥有众多的TA？

在满足你的要求？

我们所爱的，到底是谁？

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！

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。

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

幻觉与真实之间不再有差别；回忆与当下之间不再有分离。

在索拉力斯，没有真理，只有存在。

梦中之人，可以超越物质与心灵的边界，来到你的身旁。

我们是人类，还是木偶？

物质左右心灵，还是心灵左右物质？

在索拉力斯，没有答案，只有选择。

人类有了选择，纠正过去错误的选择。

有人拒绝这一切，为了真理，选择离开。

有人接受这一切，为了爱情，选择留下。

在索拉力斯，没有生死，只有爱恨。

人类的情感，超越了时空，超越了边界。

Chris: 我死了还是活着？

Rheya: 我们已经不用再考虑这些了。

Rheya: 我们在一起了。

Rheya: 所有我们做过的都被原谅了，所有的事。

也许这只是奥德修斯返家途中的海女巫们的歌声，也许这只是我们对记忆中痛苦的慰藉，也许这只是一个梦，但是，Though lovers be lost love shall not（爱人虽会失去但爱不会），And death shall have no dominion（死亡不会支配我们）。

地球？

还是索拉力斯？

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.

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/

一切回忆都只是根据返回地球克隆人的记忆而构架 回到地球的自己是被真正自己丢回救生艇的第一个克隆老婆而克隆出来的！

而真正的自己已经放弃回到地球死在空间站里了！

因为他的记忆里很清楚 自己的爱人早已死在地球 因为自己的偏执 ！

第一次切到手指与最后一次切手指的不同，我才明白，整个电影都围绕在克隆人的回忆而在进行！

但是，那份真正自己留给克隆人的遗憾，让他也不会快乐的生活！

这就是深刻的伤痛时间也很难消磨！

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。

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。