SOLARIS Lost in the Gravity of Love A Course in Miracles perspective

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• Tarkovsky's SOLARIS (Trailer) - comin... TRAILER • • Solaris | SCIENCE FICTION | FULL MOVI... MOVIE • • Solaris is sometimes compared to 2001 A Space Odyssey, maybe because they are contemporary space movies that defy obvious explanation. Here is an easy comparison: 2001 is 'transhumanist' while Solaris is 'theocentric.' Kubrick's film offers advanced states of civilization as 'Deus Ex Machina' to drag humankind forward through Darwinian technocracy. Solaris, by contrast, is a journey toward the Soul, mysterious, specific, and lacking all appearances. For me, Solaris eclipsed 2001 despite the lack of visual sophistication. It is an uncanny diagram of the principle of love manifested as the force of gravity. • They say an orbiting body is fighting centripetal and centrifugal tendencies, as any child, parent, lover, or devotee of anybody can attest. I once had the palpable sensation of how the moon must feel as it argues internally whether to fly out into deep space, captured by some other weighty object, or plunge back into the source mother---it was at a 5 star dessert buffet at the hotel Oberoi in New Delhi. The flight toward independence seemed idiotic, weighed against throwing myself against mountains of cakes, ice-creams, pastries, and unimaginable truffles. How much coffee or chai can a a mineral clod withstand before it hurls itself out and away toward other, less savory, but more useful destinations? • Chris chooses the dessert cart, knowing full well it may consume him in the end. One has to enter the scene to contemplate the implications--it's not that Chris is deciding to revisit a lost love through some magical device---it is that he is choosing relationship with Vastness, allowing the trick of a young, lost wife-reformed to pull him, sperm-like, toward immolation in an absolute Other. It's faith--not the usual tool for the scientifically-minded. It's also the strategic challenge of every ego-mind at the key moment to fly away, free and unsure of the future or to fall forward into the other, the brother, the moment of choice, of surrender, or ego-death, sure as heaven or the grave, which is to say, not sure. • • Galaxy Quest: Transported and probed ... [Interface of Nightmare and Happy Dream in 'Galaxy Quest'] • Step by step the journey from scientific observer to lover, to devotee and on to initiate is traced by Tarkovsky. The movie begins with Bach's recursive fugue and waving, watery vegetation. Vegetative life is born into existence, beyond initiation. Passionate yet uncritical, reproductive yet neutral, fully available and at the same time passive---Tarkovsky shows what the scientist in Chris is up against. The technician may have a shrink's techniques to examine the viability of 'Solaristics,' but the film director prepares the audience for the psychologist's naked vulnerability. His actual tools are astral skittishness hinted by the random horse, and sexual immaturity illustrated by 2 flirtatious kids who appear on-screen as out-of-context as the nervous mare. Like Ulysses simple need to return to Greece, Chris Kelvin is stupidly focused on 'business as usual' when it is 'gods' that beckon from the strange planet. Gibarian's suicide has the aroma of death to Chris's future as a detached witness. Sartorious' clinical fetishes while stuffing an unwanted dwarf behind closed doors, exposes the insanity of science in the absence of logical grounds. Snout's philosophical alcoholism demonstrates the 'bottle-in-front-o-me, frontal lobotomy' sanity-through-anesthesia. Those three professional solutions to the Solaris 'visitor-problem' are a tell that our hero will be in strange waters, one way or another. • Professional posture unhinges and exposes a lover in search of a mother. The Planet brings him closer. At Snout's birthday 'party' Chris and Hari become weightless, showing they have lost footing in who they once thought they were. Devoted to each other they are devotees of 'The Planet,' and subject to its teachings. Hari knows herself as extruded matter in search of individuality and Chris accepts the futility of his isolated identity. Solaris orchestrates both realizations in something that looks like adolescent infatuation, the mask of surrender. Chris' fever is Hari's immolation. When he awakens, she is no more--love alone persists to pull him toward the planet. His quest to maybe rediscover Hari on the surface is an empty ploy his mind uses to explain irrational longings to stay. Whatever intelligence Solaris has, Chris will give it form as he learns deepening commitment to Himself, through him self. It is the moth's flight into the flame revealed as Phoenix-transformed, the Course student's reliance on 'the miracle' to justify Self-discovery in the loss of self.

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