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Solaris 1968 and its influence on "horrorible" Doom

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What is Solaris, I think, do not speak. Everybody knows the original book, and the film by Andrei Tarkovsky, shot in 1972, won world fame. However, it is characteristic that both Tarkovsky and Sundberg (who also removed his version of Solaris already in 2002) in their films are far from the essence of the novel, from his mood and so on. Not without reason the author of the story, Stanislav Lem, strongly quarreled with Tarkovsky, saying that he showed the film “Crime and Punishment” in the cosmic entourage. Stephen Sundberg, inviting such a famous actor as George Clooney and hiring the most excellent artists on computer effects, all the wonderful things that happened in the book, shot the most romantic love story. Someone even said that he had Twilight, and I would agree with that person - the only thing left of the novel in the film was the scene of the action, and everything else, including the characters, was subjected to a hard rethinking.


But few people know that there was a literal film adaptation of this greatest work. Yes, the ocean was not shown in it, and in general the film had very scanty decorations, and even the budget was negligible compared to Sondberg’s film, but there were two main things in it — the play of actors and the atmosphere. It is these two things that make you forget that the film completely lacks computer graphics and other modern gadgets, because of which the films look more like some kind of attraction.


In general, this film adaptation was shot back in 1968, in the Soviet Union, by a certain Boris Nirendburg, in the USSR Central Television. Starring Vasily Lanovoy, Vladimir Etush, Victor Zozulin and Antonina Pilius. It seemed, where is it before the 2002 film, shot in the USA by the famous Steven Sundberg in 20th Century Fox, which included George Clooney, Jeremy Davis, Viola Davis and Natasha Machelhon? And here is one catchy thing - in pursuit of money, the Americans made a film that was easily digestible for American viewers - a naive love story and space and station decorations that were set against the edge.


But our compatriots, having no effects (except for scientific equipment from scientific research institutes of those years), ensured that their screen version was only one step away from the book - the television movie completely cut out observations and descriptions of anomalies on the planet Solaris itself. All the rest is exactly like Lem's - the terrible atmosphere that prevailed at the station, the convincing play of actors, and so on. Where are there before the next screenings! In Tarkovsky's attention is focused on the family relations of the hero, while in Sondberg and in general a dull love story, which only makes you yawn and wait for the end.


So, the atmosphere. From the above, it should be clear to you that in Solaris of 1968 a terrible atmosphere. This, I will not forget to inform you, was the unresolved factor of all the "scary" Doom `s - (Final) Doom PSX, Doom 64 and Doom 3. In the film, the station is shown as a dark and cramped place in which nothing glitters, and in general the impression is as if the station is abandoned. Well, remember Doom PSX! The entire first episode took place at the abandoned stations, which filled the creature from hell. And all this was emphasized by the music of all the respected Aubrey Hodges, who literally made us shy away from every cry of an imp! Although the composer of Solaris of 1968 - Galina Koltsina - is not so famous (I couldn’t find any information about her at all), but her music evokes the same emotions during the entire film - you really fear for the fate of the main character, and it seems that - for every corner an unknown creature will appear and kill it to hell. I had similar emotions except for the soundtrack of the film “Something” of the sample of 1982 authored by John Carpenter, but it came out 14 years later than the film by Boris Nirendburg!


I will show you three examples of music from this wonderful film, so that you also understand the essence of my statements (I post on the disk to avoid copyright problems):

Sample 1
Sample 2
Sample 3
(Samples are not subject to any changes, just unnecessary interference is removed, everything else is exactly like in the movie itself)


In Galina's Koltsyna music look through the principles that, after 29 years, Aubrey Hodges uses when writing the score for (Final) Doom PSX and Doom 64 - “tapping the door”, “cutting off the metal”, the cries of sinners in hell, etc., creating an atmosphere of fear and hopelessness . You are simply amazed that in the Soviet Union a group of several almost unknown people created such a thriller-horror, which Americans usually shot in the 80-90s. Moreover, Solaris was shot even before the famous Alien, which also focused on the terrible atmosphere and dark locations! Truly you think that many cinematographers (and not only) used this almost forgotten television movie as inspiration.


But I deviated a little. In short, Galina Koltsina’s music is similar to what Aubrey Hodges will write after 29 years. Actually, if you insert its music, for example, in Doom 64, then you will not notice any difference - this ambient will sound like “native”. So I guess that Hodges saw this film, otherwise why his music is so similar to the work of the Soviet composer?


And that is not all! Further more.


I said everything about music, let's move on to the locations now. They are fully consistent with the music - dark and creepy, with low light. Below I will show an example where the corridor from Solaris and the dark corridor with Map02 from Doom 64 are shown:


Note the striking similarities! Yes, there are additional objects in the film, so that the corridor does not seem completely empty, and the ceiling is slightly different, but everything else is exactly the same, even the reflections of the lamps on the floor (or rather, their location)! It can be seen that the mappers of Doom 64, in turn, also used locations from Solarium in 1968 as inspiration.


Unfortunately, I haven’t yet found more matches in locations, but there is a similar situation, but you should not compare Doom 64, but with Doom 3 alpha. See the toilet scene when the hero hides from a kick with a gun, and the moment when Chris Kelvin with a blaster is around the corner, and somewhere behind the wall the ghost of a woman goes to the office of Dr. Sartorius:


Noticed a coincidence? Yes ... Let me remind you that Alpha Doom 3 was released in 2002, and Sondberg's film was also in 2002, but that’s why Doom 3 has echoes of Solaris, released 34 years ago, is unclear. Be ashamed, Sondberg!


And yes, Sondberg will blush more than once, as I will continue to compare Solaris in 1968 with Doom 3.


So, the last - characters.


Here's an example - Chris Kelvin performed by Vasily Lanoviy and the main character Doom 3 without a middle name:


Well? And you said that main character Doom 3 drew from employees id Software! Not here it was!


The analogy of Snaut performed by Vladimir Etush in Doom 3 could not be found, but there was an analogue of Dr. Sartorius, played by Viktor Zozulin:


And I want to note that the model of L. Kaczynski is just one of the default NPC models (that is, you could pick up any example, but I chose this particular NPC, since it stands in a similar place and by the color of the suit it is scientists). As you can see, the image of a cold doctor Sartorius found a response in Doom 3.


Here is my story about how (possibly) the now forgotten film Solaris of 1968 influenced by Boris Nirendburg influenced.


In conclusion, I will say that finding this film on the Internet is not difficult, and therefore I will not give a link to the online viewing of Solaris - you will find it, you will find and see for yourself, I told you everything about the similarities with the scary Doom `s.

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That’s interesting, I’ve never seen the film, but this actually reminds me of something I was thinking about recently. I really loved Doom 1’s techbase levels, especially E1, because it has a relatively bright feel in many parts. I’ve never felt that E1 was grungy and grimy and dark, rather it’s a bright futuristic space station but then contrasted with the invasion of death and loneliness. In all other iterations of Doom and even the creators’ descriptions, it seems the actual look they want (and achieved elsewhere) is something sort of like Alien or this film you’ve discussed. Dark, industrial, filled with shadow. Doom 1 had this 70s space plastic and white concrete + direct sunlight vibe I really liked, and all other iterations have the grimy metal industrial outpost with the sun blocked by dust vibe which I’m less fond of.

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On 3/8/2019 at 4:06 PM, Marn said:

If you think that's wild, wait until you see where Halls Of The Damned came from







You forgot one.



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