Der Solist

First off, I should say that I am personally familiar with this story, having worked in downtown L.A. for the last 19 years and seeing Mr Ayers and his cello many a time around 3rd and Hill Sts. I've also read Lopez's columns in the Times for years and followed this one with interest and satisfaction. Making a film about a tale like this restores my belief in Hollywood beyond the mindless bunk it churns out year after year.

Downey Jr and Foxx play a newspaper columnist and homeless man who come together in a most unusual way. Downey is a newspaper columnist looking for something original and interesting to write about. He finds it when he sees Foxx beautifully playing battered stringed instruments along 3rd street in downtown L.A. Foxx has been there for years but on this day grabs the eye of the columnist because the columnist himself is experiencing hardship and doubt related to his own position. He begins to write about this talented but troubled man who fills the stinky air around him with harmony. They become friends but keep in mind this is not fiction. The friendship hits many bumps that continue to this day. Nathaniel Ayers (Foxx's character) may be a brilliant, educated musician, but he suffers from bouts of schizophrenia that manifest at any time. Downey's character accepts this as it adds more intrigue to his columns. Then he accepts it on a personal level. Their friendship ultimately becomes real and meaningful. You sense that Downey's character needs the friendship even more than Foxx's homeless man does. In the end, Downey's Lopez can see the positive effect his work has brought to the plight of the homeless, yet he wonders personally how much better he has made Nathaniel...? His reflections make us think also.

Downey Jr and Foxx play their characters to near perfection and the film masterfully takes its time in developing the relationship between the two. Great to see director Joe Wright telling a contemporary tale just as effectively as he has in previous works. The film makes us wonder how many other Nathaniel Ayers are lurking out there on the streets? Life being what it is, of course we will never know. The beauty of the film is that is shows what can happen when just one Nathaniel Ayers is found after being lost for so many years. There's no sugarcoating; Ayers doesn't magically get better and rejoin mainstream society. Instead, the mainstream accepts him for what he is and what he offers and begins integrating him as best it can. This film will certainly pop up at award time next year.

With an interesting subject matter, two talented actors starring, Beethoven (one of my favourite composers) featuring heavily in the soundtrack and an impressive trailer, 'The Soloist' had enough to make me want to see it.

Joe Wright is somewhat hit and miss for me. 'Atonement' and 'Hanna' especially of his films are great, also liked 'Pride and Prejudice' and 'Darkest Hour'. 'Anna Karenina' didn't do it for me though and 'Pan' was a big misfire. 'The Soloist's' mixed reception admittedly created some uncertainty on my part, but the interest points mentioned in the first paragraph were enough to check it out anyway. Seeing it, 'The Soloist' is somewhere in the middle of Wright's films in ranking.

Not one of his best, not one of his worst either. Better than reputed, but considering the potential a better film was in there somewhere that didn't quite materialise.

'The Soloist's' biggest strength is the two leads. Robert Downey Jnr. especially is riveting in a performance full of vigour and heart. Jamie Foxx had the more challenging role, and while not as subtle as Downey his acting is incredibly emotionally committed and touching. Catherine Keener also fares well.

It's a good looking film too, polished, gritty and elegant. The music is magnificent as one would hope. 'The Soloist' does have its fair share of powerful, poignant and uplifting moments, the chemistry between the two leads strikes all the right notes and the scenes and portrayal of the homeless have a lot of power. The portrayal of schizophrenia, a very complex condition that has been prone to a lot of misconceptions and misinterpretations, is not too inaccurate.

However, Wright's direction is fairly unimaginative and sometimes chaotic. While there is nothing amateurish about his images (apart from some over-eager/clever editing) not all of them serve much of a purpose. The script does tend to ramble, even in Foxx's dialogue which is at times slightly annoying, and be too ham-fisted.

Similarly, the story is somewhat too thin and tries to cover too many themes and ideas without exploring some of them enough. Consequently, some of the film gets unfocused and over-crowded with a tendency to get melodramatic and be erratically paced. The rest of the acting barely registers, which is a shame because the two leads are so good.

Overall, not a bad film but could have been more. 6/10 Bethany Cox

After catching snippets of the lackluster reviews (two-stars in the Globe and Mail) I was dis-heartened. It's been a few months since I'd been moved by the trailer. However, the film never came out. I thought it might have been shelved.

I was glad to see it was indeed playing. In spite of the reviews, I persevered on the strength of the trailer. It seemed to me there was too much talent and pedigree involved for it to actually suck. And you know what? it's a terrific film with a poignant story. Perhaps lower expectations propped up my perceptions of it, however, it still stands as time well spent.

The film is based on a true story involving a top columnist at the LA Times, Steve Lopez, played with grace by Robert Downey Jr., who becomes invested in one of his more colourful subjects, Nathaniel Ayers, an accomplished musician overcome by mental illness, now living on the streets of LA portrayed by Jamie Foxx, who rambles his way to a convincing performance.

The film is a satisfying adult drama that doesn't lose it's direction. It doesn't pander to it's audience. There is no random violence, no guns, but indeed simply good story telling with great characterizations. It's a decent film that deserves better treatment in the press. It has a noble heart that succeeds in telling a great human story.

It resonates and strikes a chord.

Yes, you can trust Joe Wright with your life, without bound for two hours.

Some parts of this are simply ordinary. There's the original sequence of stories which exploited the simple tension of discarded talent in a city that both worships talent and discards people wholesale. These were simple structures, headlines and patronizing prose.

There's the screenplay by a hack, with simple shape and essentially no movement. In other words, forget what people usually think a movie is about: the people and the story. Those parts are missing. There is no happy ending. There is no redemption.

But this has three things: madness, music and the marriage of madness and music.

I saw this right after "State of Play," a traditional newspaper movie, with archetypal writer and editor. This is a modern version with two of our most folded actors: Downey and Keener. Their job is simple: define an edge between internal and external. The coupled acting here is not between Downey and Foxx, but between Downey and Keener playing a recently divorced couple. There's a quiet tension these two build around the absent son, whose place Foxx's character fills.

Foxx makes not a character but an phenomenon, an experience, this experience of madness in music. He is helped by being placed amid folks who we are told are "real disturbed people." What Wright has is a fairly vacuous notion of madness, but a sublime talent in expressing it cinematically. Some of his tricks are trivial when considered independently: a cutout of Ayers getting smaller and "disappearing into" the music; a cheesy light show to Beethoven; an attempt to conflate voices in the head to music in the head. This latter is very real but the expression is cheap.

While they seem trite individually, none are used heavily or relied on. And the effect when combined with more masterly things produces a symphony of excess. Downey's character remarks on the sheer depth, the love the penetration in describing just this very thing we see. It works. Music, indeed all real paths through passion are madness. Every adventure into commitment is a step outside safety of self.

Wright knows this. He feels it. He can show it. I can trust him with my life. Its madness to do so, but I recommend it to you.

Ted's Evaluation -- 3 of 3: Worth watching.

This film was supposed to be a major competitor for the Oscars last year, but Paramount bumped it to a few months later. Despite the mixed reviews the film has received, I believe it would have been a major contender. I honestly think Paramount's decision not only ruined its chances for Oscars, it gave the impression that there was something wrong with the picture. There isn't, really. The subject matter does scream "Oscar Bait", with Robert Downey Jr. playing a newspaper columnist who writes about a schizophrenic genius musician (Jamie Foxx) who is homeless on the streets of L.A. We all remember Shine. Shine was pretty good (if entirely made up, as we later discovered). The Soloist is probably a little better. I think it's stronger because of its exploration of the relationship between the two central characters. Both Downey and Foxx are extremely good; both are award-worthy. This material could easily have been cheesy Oscar bait, but director Joe Wright (Pride and Prejudice and Atonement) is a virtuoso himself. The way he uses image and sound move the story along beautifully, not allowing the clichés to clog up the film.