索拉里斯

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

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.

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

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。

同样一部《索拉里斯》，不同的导演能够将它拍出截然不同的气质，不管怎么说这都是令人大饱眼福的。

塔科夫斯基的索拉里斯是诡谲莫测的，索德伯格的索拉里斯则是神秘迷人的；塔氏的索拉里斯是哲学化的，索氏的索拉里斯则是神学化的。

总的来说，索德伯格的改编，是游离于忠实与创造之间的，较之塔氏的选择，原著的影子更为细若游丝。

但是如果像当时莱姆透过影评而对本片所持的否定态度那样，认为全片只是关于爱情，那也似乎有点矫枉过正了。

其实，就像那句有关“哈姆莱特”的名言所说的，莱姆在《索拉里斯星》这部短小精悍的“巨著”中所蕴藏的内涵，也是如此包罗万象，以致从任何一个切入点进行发挥，都足以成就一部优秀的作品，而显而易见，任何一部改编作品，都无法在有限的时间内，涉及到原著的方方面面，索氏的改编如此，塔氏的改编亦如此。

因此，如果从这个角度来联系本片与原著的关系，就不难看出，它确确实实不仅仅是一个爱情故事这么简单了，而是达到了它应有的水准。

简单来说，索氏本次的改编侧重于对索拉里斯的神性的探讨。

因此淡化了原著中很多关于造物瑞亚的设定，以及凯文在空间站的种种遭遇；而深化了凯文和瑞亚往事的展开，以及在空间站二人关系的重建。

为的，就是酝酿影片结尾有关救赎的情绪。

当然，索氏的救赎是基督教式的，这在剧本中改变和突出的诸多设定可以轻易看出，比如戈登女性视角的引入、狄兰托马斯诗歌的暗示、该隐弑弟的隐射、《创造亚当》的隐喻、重回伊甸园的结局，以及无数个令人印象深刻的索拉里斯犹如巨神一般凝视着空间站的镜头……这与莱姆文中的“进化神”和“绝望神”观点不同，但也切合了他另一个观点，也即“索拉里斯的婴儿期”，索拉里斯看似压制性的稳定和冷漠，它可能是在冷静地审视着空间站里发生的一切，它也可能是在好奇地观察着人类的思想。

所以，索氏取舍无可非议，因为莱姆本人就从未想过要给读者以确切唯一的答案，相反，他认为，所有这些都是只一种很可能无法被证实的假说，没有对与错之分，因为就像尼采所谓的“透视”观点一样，索拉里斯的真相，只有穷极所有人的所有视角，才能全息地显露出来。

除此之外，一些塔氏曾经舍弃的桥段也重新被索德伯格放入了故事，作为了补完影片架构的一块基石，这无疑是对观众的另一个馈赠。

本片当然仍是十分索德伯格式的，我认为可以算作他生涯中的上乘之作了。

叙事、节奏、剪辑、配乐、构图无不精雕细琢而游刃有余，配合起来，十分引人入胜，而且美学效果独特，令人身心愉悦。

而且可以看出，本片的一些镜头和设计是明显有对《2001》致敬的倾向的，而另一些镜头，则显然是借鉴了塔氏对本作的改编的。

因此，从制作水平来说，本片水准高出塔氏版本很多，虽然这是时代进步导致的理所当然，但也应对索氏努力为观众呈现出的这一优秀成品表示肯定。

当然，占有原著中大量篇幅、充斥着莱姆非人般想象力的对索拉里斯各种奇异景象的描绘，至今仍未能够被改编作品表现出来，也许，我们接下来所要期待的，就是一部讲诉人类对索拉里斯超过半个世纪研究的太空史诗了吧。

"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.

我觉得，索德伯格的改编版本与塔可夫斯基在本质上没什么区别，只是将它通俗化了，他们共同想要表达的是：人类到底存不存在，是不是尘世一切只不过是更高级生命体的臆想。

这种思考方式比[黑客帝国]更虚无。

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？

2002年的重制版《索拉力》，如果我们以所谓“纯科幻”的角度来看待它，那么，较之于小说和72年版定然是逊色不少的。

这部电影对原版小说的改编太多，尤其是把主张消灭“客人”的白人物理学家莫名的改成黑人。

片中也没有深入地探讨人类与索拉里斯星之间的“对立”关系，和试图相互理解的努力。

然而，我们把它看作是爱情片，那么这部影片还是值得观赏的。

当然了，这样一来，我个人认为，其实没有必要煞费力气搬出科幻经典之作作为舞台设置来摆布。

抛开羞涩难懂的背景设定不谈，故事的主旋律是很简单的。

一名男人因种种原因和深爱的女人闹矛盾离开了她，最后的结局是女人寻短辞世。

几年之后，这位男人心中依然存着负罪感，因偶然的机会来到了观测神秘星球的太空站，“奇迹般”地重逢了她。

我不知道科学的发展在精神层面是否给人类带来了福音。

如果这则故事发生在古代，随之而来的很可能是幸福的结局。

然而，依照现代的科学知识，几乎每个人都懂得，曾经爱过的故人复生时，不带有人间天上的隔阂是不可能的。

在太空站里男主角重逢的“她”，不是几年前逝世的她。

虽然“她”的模样，神情，还有她脑中的记忆，和她基本是一致的，但是“她”不会死。

即便男主角把“她”放逐到外太空，只要他醒睡一次，就出现在他的身旁；即便“她”服下液态氧，也会复苏。

作为知识分子，他当然知道“她”不是她。

可悲的是，他仍然无法狠下心来把“她”看作是索拉里斯星试验人类的道具。

他的内心深处，似乎是一直希望着和她重头再来的。

据某位心理学家所说，当人遇到一些无法挽回的事件，总是希望在相似的情形之下挽回曾经犯下的错误。

按照人类的伦理道德尺度，索拉里斯星可能是无耻下流且残酷阴险的。

但是，男主角，终于遇到了绝佳的机会，来挽回当年所犯下的错误。

在他眼前的“她”和她，就差了那么一点点，其实也可以说她俩是同一位人物。

“她”不是机器人，用肉眼来看，和人类几无区别。

她早已死去，她早已失去了继续生存变化的可能性。

那么，根据男主角的记忆复原的“她”又何尝不是“真实”的她呢？

错过了这一次，以后他还会有机会解脱自己吗？

可是他想挽回的，究竟是她呢，还是他自己呢？

影片到最后，我们可以知道，男主角并没有回到地球，因为他手指头的伤口很快就愈合了，他又遇到她了。

我们只是不知道，这部影片是索拉里斯星在解读男主角的心路历程，还是按照时间顺序，在影片结尾处男主角被索拉里斯星所吞没。

不过这些细节，可能没有男主角所感受到的那份救赎感重要吧。