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Of Tarkovsky's Solaris ... Žižek contemplates two readings, a Jungian one and a correct one. According to the Jungian interpretation, the "point" of the planet Solaris is "simply [the] projection, materialization of the (male) subject's disavowed inner impetuses. In fact," Žižek continues, "what is much more crucial is that if this 'projection' is to take place, the impenetrable Other Thing must already be here — the true enigma is the presence of this Thing," which Žižek defines as Lacan's Real (Žižek 2000: 234). Žižek gleans from an interview with Tarkovsky that the director "obviously opts for the Jungian reading, according to which the external journey is merely the externalization and/or projection of the inner initiating journey into the depth of one's psyche" (234). By contrast, according to Žižek, the "point" of the original novel by Stanislaw Lem "is precisely that Solaris remains an impenetrable Other with no possible communication with us" (234). Apart from the obvious reductionism involved in discussing a work based on its "point," it is noteworthy that Žižek's analysis seems to assume some primordial narrative "Solaris" which yields a finite number of possible interpretations, from which artists effectively choose: the Jungian one, the Lacanian one, etc. Since the "point" of the work is equally communicable via a novel, a film, or a magazine interview, Žižek seems to deny the aesthetic work any autonomous being whatsoever, except as packaging for the "point." The "crucial dilemma" of Tarkovsky's films is not an aesthetic question at all, but rather, "is there a distance between his [Tarkovsky's] ideological project (of sustaining meaning, of generating new spirituality, through an act of meaningless sacrifice) and his cinematic materialism?" (254). Thankfully, Žižek's pre-ordained conclusions do not preclude his readings of the films from opening up completely new aspects of the works in question. A case in point is Žižek's reading of the director's notorious long-take. Žižek discusses a scene in Nostalgia where the female protagonist Eugenia erupts into a sudden hysterics "against the hero's tired indifference, but also, in a way, against the calm indifference of the static long take itself, which does not let itself be disturbed by her outburst" (233). Žižek's irreverent observations liberate the viewer from any pious presuppositions and draw attention to the play of detached gaze and embodied materiality in Tarkovsky's world.
Jameson, Fredric. The Geopolitical Aesthetic: Cinema and Space in the World System. Bloomington and Indianapolis: Indiana University Press; London: BFI, 1992.
Žižek, Slavoj. "The Thing from Inner Space." In Sexuation. Ed. Renata Salecl. Durham and London: Duke University Press, 2000. 216-59.
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