Polish science-fiction author Stanislaw Lem’s work has been characterized for posing deep questions about human nature in the face of technologically advanced societies. On a number of occasions, his books have been adapted to the screen resulting in films that, though differing in many ways from its source material, have become staples of the sci-fi genre. The most famous of these are the adaptations of the novel Solaris, one by Andrei Tarkovsky in 1972, and another by Steven Soderbergh in 2002.

The novel is a deeply philosophical and introspective piece of literature that reflects upon the limitations of human rationality. The films, according to the author, were lacking in their way of transmitting this idea. He said Tarkovsky’s version was a remake of Crime and Punishment, while of Sodebergh’s he commented that the book was not dedicated to the erotic problems of people in space, while the film was.

What Is Solaris About?

Solaris
20th Century Fox

The story follows psychologist Chris Kelvin, who is asked to determine if the human exploration of planet Solaris — an intelligent form of ocean planet — should be continued as communications between Earth and the station orbiting Solaris have been lost. There he meets the other two scientists on the ship who are somehow affected by their stay at the station, and on his first night aboard he experiences the same troubles as them.

While sleeping, Chris is woken up by his old lover Rheya, who had killed herself a decade ago following a quarrel with him. This apparition is biologically identical to the woman he loved, as are the other “guests” that have appeared before the scientists. These are sent or manifested by Solaris, which is apparently trying to communicate in some way.

Lem’s Questioning of Human Capability to Reason

Solaris
20th Century Fox

The novel concerns itself with philosophical questionings of humanity's search for knowledge. There is a high emphasis on the historical exploration of Solaris, and how humans believe that they are looking for new worlds, but what they are really doing is searching for reaffirmation of their existence, meaning they want things that are and look like what they know rather than something new.

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Lem’s writing omits no details, as it delves heavily into everything possibly conceivable regarding Solaris. It even cites passages from books written about the planet, which range from esoteric reflections to existentialism all through exhaustive descriptions of space exploration. It’s then understandable why both Soderbergh and Tarkvosky centered their approach to the material on the things they were interested in from the novel, as Lem’s ideas can be quite derivative and overreaching.

Tarkovsky's Meditation on Time and Spirit

Solaris (1972) by Andrei Tarkovsky
Mosfilm

The Russian master began his outstanding film run of the '70s by bringing depth to the science fiction genre, which he felt was shallow due to its obsession with technology over humanity. He even went on to deem Kubrick’s 2001: A Space Odyssey as "phony" and "lifeless." His version of the story is a slow-paced visual meditation that perfectly suits the philosophical interrogations posed by Lem.

Though apparently close, Tarkovsky distances himself from the novel by delving deeper into the characters and their psycho-existential distress rather than the human condition and its ontological complications. The film is now considered a top sci-fi movie and holds its place among Tarkovsky’s finest works.

Soderbergh's Take Is Unique and Important

Solaris
20th Century Fox

Right off from the Academy Award-winning duo of Traffic and Erin Brockovich, and the success of the Ocean’s franchise first installment, no one would have guessed that Soderbergh’s next project would be an adaptation of Solaris. His version turned out way differently than Tarkovsky’s and also diverted considerably from the novel. It stands very well on its own and is just as worthy of praise as the other. Despite being critically praised, it turned out to be one of the most overlooked films of his career.

Soderbergh keeps the complex psychology of Tarkovsky but trades the pacing for a modern and sensuous approach to editing, cinematography, and directing. The film focuses on Chris and Rheya’s relationship, taking something into account that Lem’s and Tarkovsky’s more metaphysical approach didn’t emphasize: the bodies carrying the range of emotions in the story. By focusing on the physicality of the characters, Soderbergh creates a visceral view of the story that is more relatable and accessible.

A Focus on Emotional Depth and History

Solaris
20th Century Fox

The film has no ominous introduction. It immediately situates the viewer on a contemporary aesthetic, where there is no indication of the film being a work of science fiction. Soderbergh, like Tarkovsky, uses the genre to explore complex notions. His version gets straight to the point from the very beginning: the emotional history of the characters.

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The film shows way more flashbacks of Rheya and Chris’s life before she died, and dedicates more attention to how they feel towards being together in Solaris. By doing this, the film also brings more depth to Rheya’s character, which neither Lem nor Tarkovsky did. Though in all three versions, she is unstable and suicidal. Both the novel and 1972 film leave her at that, rather than exploring her complexity.

Physical Expression and Comfort

Solaris
20th Century Fox

While it may not be meditative or expansive in explicitly posing metaphysical questions, the 2002 version does explore these ideas in a more subtle and nuanced way. Whether it is in the form of a glance, an expression, or a phrase, the film expresses the existential through the expressiveness or lack of from its protagonists. By the end, it approaches the same conclusion as the other iterations, but it ensembles it in the form of physical comfort: home.

Tarkovsky ends his film by alluding to the idea that Chris is still in Solaris by showing his father’s house as an island on a lake in Solaris, while Soderbergh has Chris and Rheya together, inside the apartment they used to share. Placing the characters inside such an intimate space displaces them from the world. There is nothing else but their embrace. As the image of the two gives way to Solaris, the film has broken away from metaphysics, philosophy, and poetry. It never intended to speak for humanity or to linger on a search for life's meaning.

In the end, Soderbergh is ultimately interested in the idea of two beings' emotional odyssey to find comfort through the sharing of space, life, emotions, and physical existence.