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Der Solist

Originaltitel: The Soloist
  • 2009
  • 12
  • 1 Std. 57 Min.
IMDb-BEWERTUNG
6,7/10
56.212
IHRE BEWERTUNG
Robert Downey Jr. and Jamie Foxx in Der Solist (2009)
This is the theatrical trailer for The Soloist, directed by Joe Wright and starring Jamie Foxx and Robert Downey Jr.
trailer wiedergeben2:32
15 Videos
87 Fotos
BiographyDramaMusic

Ein Zeitungsjournalist entdeckt ein obdachloses Musikgenie und versucht, seine Situation zu verbessern.Ein Zeitungsjournalist entdeckt ein obdachloses Musikgenie und versucht, seine Situation zu verbessern.Ein Zeitungsjournalist entdeckt ein obdachloses Musikgenie und versucht, seine Situation zu verbessern.

  • Regie
    • Joe Wright
  • Drehbuch
    • Susannah Grant
    • Steve Lopez
  • Hauptbesetzung
    • Jamie Foxx
    • Robert Downey Jr.
    • Catherine Keener
  • Siehe Produktionsinformationen bei IMDbPro
  • IMDb-BEWERTUNG
    6,7/10
    56.212
    IHRE BEWERTUNG
    • Regie
      • Joe Wright
    • Drehbuch
      • Susannah Grant
      • Steve Lopez
    • Hauptbesetzung
      • Jamie Foxx
      • Robert Downey Jr.
      • Catherine Keener
    • 171Benutzerrezensionen
    • 206Kritische Rezensionen
    • 61Metascore
  • Siehe Produktionsinformationen bei IMDbPro
    • Auszeichnungen
      • 1 Gewinn & 3 Nominierungen insgesamt

    Videos15

    The Soloist: Trailer
    Trailer 2:32
    The Soloist: Trailer
    The Soloist: "Steve Meets Nathaniel"
    Clip 0:59
    The Soloist: "Steve Meets Nathaniel"
    The Soloist: "Steve Meets Nathaniel"
    Clip 0:59
    The Soloist: "Steve Meets Nathaniel"
    The Soloist: "I Want You to Help Him"
    Clip 1:02
    The Soloist: "I Want You to Help Him"
    The Soloist: "Dinner at Awards Show"
    Clip 0:39
    The Soloist: "Dinner at Awards Show"
    The Soloist: Help Him
    Clip 1:02
    The Soloist: Help Him
    The Soloist: Dinner
    Clip 0:39
    The Soloist: Dinner

    Fotos87

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    Topbesetzung99+

    Ändern
    Jamie Foxx
    Jamie Foxx
    • Nathaniel Ayers
    Robert Downey Jr.
    Robert Downey Jr.
    • Steve Lopez
    Catherine Keener
    Catherine Keener
    • Mary Weston
    Tom Hollander
    Tom Hollander
    • Graham Claydon
    LisaGay Hamilton
    LisaGay Hamilton
    • Jennifer Ayers
    • (as Lisagay Hamilton)
    Nelsan Ellis
    Nelsan Ellis
    • David Carter
    Rachael Harris
    Rachael Harris
    • Leslie Bloom
    Stephen Root
    Stephen Root
    • Curt Reynolds
    Lorraine Toussaint
    Lorraine Toussaint
    • Flo Ayers
    Justin Martin
    Justin Martin
    • Young Nathaniel
    Kokayi Ampah
    Kokayi Ampah
    • Bernie Carpenter
    Patrick Tatten
    Patrick Tatten
    • Paul Jr.
    Susane Lee
    Susane Lee
    • Marisa
    • (as Susane E. Lee)
    Marcos De Silvas
    Marcos De Silvas
    • Mayor Villaraigosa
    Ilia Volok
    Ilia Volok
    • Harry Barnoff
    Michael Bunin
    Michael Bunin
    • Adam Crane
    Mike Nowak
    • Julliard Conductor
    • (as Michael Nowak)
    Jena Malone
    Jena Malone
    • Cheery Lab Tech
    • Regie
      • Joe Wright
    • Drehbuch
      • Susannah Grant
      • Steve Lopez
    • Komplette Besetzung und alle Crew-Mitglieder
    • Produktion, Einspielergebnisse & mehr bei IMDbPro

    Benutzerrezensionen171

    6,756.2K
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    Empfohlene Bewertungen

    10LAKERS34

    Uplifting: Finding a Golden Needle in the Haystack of Urban Blight

    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.
    6TheLittleSongbird

    Going solo

    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
    8MalcolmJTaylor

    A solid drama on a human scale

    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.
    tedg

    Two Good Strings

    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.
    8zetes

    Wright, Downey and Foxx are good enough artists to lift this above its Oscar bait plot

    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.

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    Handlung

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    Wusstest du schon

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    • Wissenswertes
      Jamie Foxx (who was already a classically trained pianist) learned to play the cello for the film.
    • Patzer
      In the movie, Steve takes Nathaniel to listen to Beethoven's Third Symphony. In the DVD bonus material an interview with the real Nathaniel and Steve confirms that this took place, and that it was the Third Symphony. Reminiscing, the real Nathaniel then plays Steve an excerpt on his cello...except that he actually plays the second movement of Beethoven's better known Fifth Symphony - not the Third.
    • Zitate

      [last lines]

      Steve Lopez: "Points West" by Steve Lopez. A year ago, I met a man who was down on his luck and thought I might be able to help him. I don't know that I have. Yes, my friend Mr. Ayers now sleeps inside. He has a key. He has a bed. But his mental state and his well-being, are as precarious now as they were the day we met. There are people who tell me I've helped him. Mental health experts who say that the simple act of being someone's friend can change his brain chemistry, improve his functioning in the world. I can't speak for Mr. Ayers in that regard. Maybe our friendship has helped him. But maybe not. I can, however, speak for myself. I can tell you that by witnessing Mr. Ayers's courage, his humility, his faith in the power of his art, I've learned the dignity of being loyal to something you believe in, of holding onto it. Above all else, of believing, without question, that it will carry you home.

    • Crazy Credits
      At the end of the credits, the music concludes with the sound of a cassette tape grinding to a stop, referencing Lopez's omnipresent recorder.
    • Verbindungen
      Edited into The Rotten Tomatoes Show: 17 Again/State of Play/Crank High Voltage (2009)
    • Soundtracks
      Me Despido
      Written by Ernie Salgado

      Performed by Michael Salgado

      Courtesy of Freddie Records

    Top-Auswahl

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    FAQ28

    • How long is The Soloist?Powered by Alexa
    • Is "The Soloist" based on a book?
    • Who is Nathaniel Anthony Ayers?
    • What is the significance of the burning car Nathaniel sees passing in front of his window?

    Details

    Ändern
    • Erscheinungsdatum
      • 10. Dezember 2009 (Deutschland)
    • Herkunftsländer
      • Vereinigtes Königreich
      • Frankreich
      • Vereinigte Staaten
    • Offizielle Standorte
      • Official site (France)
      • Official site (Japan)
    • Sprache
      • Englisch
    • Auch bekannt als
      • The Soloist
    • Drehorte
      • Walt Disney Concert Hall - 111 S. Grand Avenue, Downtown, Los Angeles, Kalifornien, USA
    • Produktionsfirmen
      • Dreamworks Pictures
      • Universal Pictures
      • StudioCanal
    • Weitere beteiligte Unternehmen bei IMDbPro anzeigen

    Box Office

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    • Budget
      • 60.000.000 $ (geschätzt)
    • Bruttoertrag in den USA und Kanada
      • 31.720.158 $
    • Eröffnungswochenende in den USA und in Kanada
      • 9.716.458 $
      • 26. Apr. 2009
    • Weltweiter Bruttoertrag
      • 38.332.994 $
    Weitere Informationen zur Box Office finden Sie auf IMDbPro.

    Technische Daten

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    • Laufzeit
      1 Stunde 57 Minuten
    • Sound-Mix
      • Dolby Digital
      • SDDS
      • DTS
    • Seitenverhältnis
      • 2.35 : 1

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