Artykuł pochodzi z pisma "Guardian"

Steven Soderbergh has directed and produced more remakes than most of us have had power breakfasts. His latest, Solaris, is his most ambitious, if not necessarily his most entertaining. It's another version of Stanislaw Lem's novel, originally published in Polish in 1961 and filmed at great length in the USSR 10 years later by Andrei Tarkovsky as a sort of riposte to Kubrick's 2001: A Space Odyssey. George Clooney, whose best movie roles to date have been in Soderbergh's Out of Sight and Ocean's Eleven, is convincingly angst-ridden as Chris Kelvin, a widowed psychologist in a near-future summoned to investigate the mysterious happenings aboard 'Prometheus', a space station orbiting the planet Solaris. Arriving there he discovers just two survivors, the weird, strung-out Snow (Jeremy Davies), who seems to be impersonating Dennis Hopper in Apocalypse Now, and the commanding, controlled Gordon (Viola Davis), one incoherent, the other tight-lipped. The unsettled Kelvin is visited, in what at first seems to be a dream, by his late wife, the ethereally beautiful Rheya (Natascha McElhone), who committed suicide seven years earlier. It transpires, however, that Solaris is some sort of oceanic intelligence with a will of its own that creates seemingly flesh-and-blood people from the memories and desires of the occupants of the space station. Inasmuch as they are not only parasitic, but also pathetically aware of their incompleteness, these 'guests' are dangerous to the dreamers and a threat to rational life on Earth. Although Kelvin is surrounded by shiny, flashing hardware, this is philosophical science fiction concerned with questions of time, identity, memory and the relationship between mind and body. It is also a love story of a romantic, necrophilickind. This space variation on the myth of Orpheus and Eurydice raises many issues, including how we'd behave given the opportunity to relive or extend our lives. The dialogue varies between the scientific-unintelligible and the oriental-gnomic. Soderbergh (who wrote, edited and photographed the movie as well as directing it) creates a portentously mystifying atmosphere by the merging of past and present, the subdued lighting, and - a device he's used before - playing dialogue on the soundtrack while the speakers' mouths remain firmly shut. The poetry in Tarkovsky's film resides in painterly images. The poetry here is quite literal in the sense that Dylan Thomas's 'And death shall have no dominion' is employed as a motif, first quoted by Kelvin as his favourite poem and later torn from Thomas's collected poems and clutched by Rheya on her death bed.

angst-ridden - ridden by angst, full of angst, pełen stanów lękowych
to clutch - to hold tightly, esp. in a state of fear or anxiety, ściskać w ręce
ethereal - light and delicate, esp. in an unnatural way, eteryczny
flesh-and-blood - z krwi i kości
Inasmuch as - formal conjunction used to express the degree to which a person or thing is the cause of something described in another part of the sentence, zważywszy że; skoro; ponieważ; jako że; o tyle, o ile
incoherent - expressing oneself unclearly; expressed unclearly, chaotyczny; bezładny; niespójny
to merge - to combine, join together, łączyć, mieszać
parasitic - pasożytniczy
portentous - too serious and trying to be very important, pretensjonalny
to reside - to stay, rezydować, pozostawać
riposte - a quick and clever remark, riposta, odpowiedź
strung-out - slang: experiencing the strong remarks of drugs such as heroine or cocaine,naćpany
to subdue - to reduce of force of something, prevent something from existing or developing, przyćmić, przytłumić, zredukować, zmniejszyć,
to summon - to order somebody to go to a particular place, wydelegować
to transpire - to become known, okazywać się, wychodzić na jaw


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