Despite being one of Andrei Tarkovsky's most successful films, Solaris (1972) was the one he most disliked. This dismissal of his most generically marked film has often been accepted by those quick to embrace the image of Tarkovsky as a transcendent artist rising above the politics of the Soviet film industry and the trappings of genre to produce personal works of art.GoinDespite being one of Andrei Tarkovsky's most successful films, Solaris (1972) was the one he most disliked. This dismissal of his most generically marked film has often been accepted by those quick to embrace the image of Tarkovsky as a transcendent artist rising above the politics of the Soviet film industry and the trappings of genre to produce personal works of art.Going against such currents, Mark Bould instead treats Solaris as the product of a genre as well as the work of a skilled film-maker. He teases out Tarkovsky's fascination with Stanisław Lem, on whose novel the film was based, and also considers Steven Soderbergh's 2002 adaptation. Lively and revealing, Bould's examination situates Solaris within the Russian and global cultures of the fantastic, to which Tarkovsky contributed three major science fiction films.This special edition features original cover artwork by Matthew Shlian....
|Title||:||Solaris (BFI Film Classics)|
|Format Type||:||Kindle Edition|
|Number of Pages||:||96 Pages|
|Status||:||Available For Download|
|Last checked||:||21 Minutes ago!|
Solaris (BFI Film Classics) Reviews
While not as compelling as some of the books in the BFI Film Classics, this is still a solid read about the late, great Soviet filmmaker Andrei Tarkovsky's 1972 sci-fi epic, Solaris. Bould walks us through some of the production history – I wish we got more of this, though what is there is interesting – and motivations behind the making of the movie. Some of his analyses are less captivating than others, but I will grant him an "A" for effort. For someone like me who hasn't seen the film in a while, this slim volume is a useful guide through the plot and structure. I liked some of his comparisons of Tarkovsky's work with that of other filmmakers. Overall, I would recommend, with the caveat that Bould's arguments can occasionally devolve into the pedestrian and obvious.
One of the best books on Andrei Tarkovsky that I've read. That Bould is more a fan of scifi than Tarkovsky really helps in this case. Not that Bould doesn't care for Solaris; he just doesn't care for Tarkovsky acting above the genre or the source material. (Tarkovsky's personal beliefs don't endear Bould to him, either.) Bould gives equal attention to Tarkovsky's poetics and Lem's novel so don't expect him to short change one at the expense of the other. The material on Cold War scifi literature is especially interesting and adds a context that I hadn't known previously. Bould treats the film more in terms of genre than high art which ends up revealing more about the film than some other more auteur-driven accounts have offered. I can't say I've learned as much about the film as I had before now when reading other books, listening to commentary tracks, or watching Solaris for myself. A great book on scifi cinema as well as Tarkovsky that fan of either must read.
This book covers both the Russian version of the film Solaris and the US version I haven't seen. The Russian version is an incredible film even though the Director didn't like it. Mark Bould's book opens up all sorts of new angles on the film and its Russian references. I strongly recommend seeing the Russian film first and I guess I now should watch the US version.
Some interesting stuff on sf as a genre and Tarkovsky as a misogynist. The most successful BFI books are the ones that don't feel the need to describe the film shot by shot. There is the film itself for that.