Remakes: “Solaris” by Andrei Tarkovsky (1972) and “Solaris” by Steven Soderbergh (2002)

Analysis

Hausarbeit (Hauptseminar) , 2004 , 18 Seiten , Note: 1

Medien / Kommunikation - Film und Fernsehen

Thom Patterson from CNN expresses the issue of the remake in a very nice way: „Remaking well-known films can be the Hollywood equivalent of replacing the family dog or a favourite bathrobe: sometimes only the old one will do and a replacement is unthinkable.”
In my case study I will take a closer look at the two different versions of
“Solaris”:
Andrei Tarkovsky’s “Solaris” (1972) and
Steven Soderbergh’s “Solaris” (2002)
Is Soderbergh’s “Solaris” a worthy representative, replacement or addition to Tarkovsky’s “Solaris” or is it just like Patterson describes it, unneeded like the replacement of the family dog? Is Tarkovsky’s “family dog” so well-known and respected that a new “family dog” would be redundant?
First of all, one should notice that both films are based on Stanislaw Lem’s book “Solaris”. At least that’s what one can read everywhere…but is this so? Is Soderbergh’s film a re-adaptation of Lem’s book or is it rather a remake of Tarkovsky’s film?
I would like to analyse in what way the two directors developed the characters in the film having the book “Solaris” as the basis.
By analysing the way, Soderbergh and Tarkovsky present the relationship between Hari/Rheya and Chris and how the two directors develop the characters, I will also try to find an answer to the question whether Soderbergh’s “Solaris” is a remake of Tarkovsky’s Solaris or a re-adaptation of Lem’s book.
What are the similarities and differences of the presentation of this relationship in the two films?
Soderbergh for example never personally said that his film is only a remake of Tarkovsky’s “Solaris” but also, or even more, a re-adaptation of Lem’s book.
This would exactly apply to the theory of Jan Speckenbach, who mentions in his first part of “On the Remake. A cinematic phenomenon” that sometimes the director of a remake denies it to be one. Since it might sell better when it is a new adaptation of the novel - that also is used in the original film - that provided a basis for the remake and not just a remake of the original film. But did Soderbergh only refer to his film as a re-adaptation because it might sell better or is it really a re-adaptation?
Hari/Rheya (named Hari in Tarkovsky’s “Solaris”, differently in Soderbergh’s “Solaris” and same as in Lem’s book: Rheya) also plays a central role in the two films, and I would like to analyse the representation of her in the two films.

Inhaltsverzeichnis (Table of Contents)

• Introduction
• I. Introduction into the Plot
• II. Analysis of the two Films with special Regard to the Characters
  • The Visitors
  • The Relationship between Hari/Rheya and Chris Kelvin
    • Hari/Rheya
    • Chris' Reaction to Hari's/Rheya's Disappearance
    • How real are any of us?
  • Marketing of “Solaris”
  • 'Look' of “Solaris”
  • The different Endings of the Films
    • Tarkovsky's “Solaris”
    • Soderbergh's “Solaris”
  • Character drawing
• III. Remake or Re-adaptation?
• Conclusion
• IV. Works Cited
• V. Filmography
• VI. Overview: most important Characters of the Films

Zielsetzung und Themenschwerpunkte (Objectives and Key Themes)

This case study analyzes the two different versions of "Solaris": Andrei Tarkovsky's “Solaris” (1972) and Steven Soderbergh's “Solaris” (2002). The study aims to determine whether Soderbergh's film is a worthy addition to Tarkovsky's work or a redundant remake. The analysis focuses on the development of characters, particularly the relationship between Hari/Rheya and Chris Kelvin, and explores the similarities and differences in the films’ presentation of this relationship. The study also investigates whether Soderbergh's film is a remake of Tarkovsky's or a re-adaptation of Stanislaw Lem's novel.

• The nature of remakes and re-adaptations in film.
• The influence of source material on film adaptations.
• The portrayal of complex characters and their relationships.
• The exploration of philosophical and existential themes in film.
• The role of visual style and narrative structure in conveying meaning.

Zusammenfassung der Kapitel (Chapter Summaries)

The introduction explores the concept of remakes and establishes the context for the case study. It raises questions about the value of remaking established works and introduces the two films under analysis. Chapter I provides a concise overview of the plot, setting the stage for the character analysis that follows. Chapter II delves into the analysis of the two films, focusing on the characters and their interactions, particularly the relationship between Hari/Rheya and Chris Kelvin. This chapter examines the similarities and differences in how the two directors present this relationship and explores the philosophical implications of the characters' experiences. Chapter III explores the question of whether Soderbergh's film is a remake of Tarkovsky's or a re-adaptation of Lem's novel, presenting arguments for both perspectives. The conclusion summarizes the findings of the analysis and offers a final reflection on the significance of the two films.

Schlüsselwörter (Keywords)

This case study focuses on the themes of remakes, re-adaptations, film adaptation, character development, philosophical exploration, existentialism, visual style, and narrative structure, as well as the specific films "Solaris" by Andrei Tarkovsky and "Solaris" by Steven Soderbergh.

• Hochschule: Universiteit Utrecht (Media Studies)
• Veranstaltung: Remakes & Parody
• Note: 1
• Autor: Anna Zafiris (Autor:in)
• Erscheinungsjahr: 2004
• Seiten: 18
• Katalognummer: V143309
• ISBN (eBook): 9783640526321
• ISBN (Buch): 9783640526079
• Sprache: Englisch
• Schlagworte: Remakes, Adaptionen, Stanislaw Lem, Solaris, Andrei Tarkovsky, Steven Soderbergh, Filmanalyse, Filmvergleich, Science Fiction, Russische Filme, Thriller