The Soloist

The SOLOIST is anything but typical. It tells an extremely interesting and unusual story which refuses to conform to the formulaic conventions to which we have, unfortunately, become so complacently accustomed.

There are three factors which contribute to creating false expectations for SOLOIST. First, the title itself is somewhat misleading. Watch the movie, and you'll see for yourself!

Second, the trailer or previews is edited so as to create expectations geared to coincide more with the genre's formulaic audience comfort zone. The very thing the movie so painstakingly avoids! 😊😊

And third, the very same set of entrenched genre conventions we have already mentioned, that many people bring with them when viewing!

Putting all of this aside, SOLOIST derives its tremendous energy and appeal from the undeniable on-screen chemistry of Robert Downey, Jr. And Jamie Foxx. Their interaction is a joy to watch. The story does provide the standard genre buzz-words... Uplifting, inspirational and motivational...but for reasons that would be virtually impossible to predict before experiencing the film itself!

Oh, and the music is absolutely sublime! Lover's of classical music are in for a veritable treat! There are elements of SOLOIST that will make some viewers squirm. Third world neighborhoods, right here, in downtown Los Angeles, for example!

Scenes from SOLOIST have been ricocheting around my brain since viewing it yesterday!

9.5*** STARS ENJOY! / DISFRUTELA!

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.

I am a musician and live in France, where the release date of this movie is scheduled for Sept. 2 2009. I obviously cannot write a review at the present time but have nevertheless read the book.

What no one mentions in all of the above comments is that Nathaniel Ayers was originally a Double Bass student at Julliard and NOT a cellist. That instrument-- along with the violin, trumpet, and piano, all came about later on. Put any instrument into his hands and he'll do his best to master it.

Having attended Yale university, I did not know him personally, even though we studied with one of the greatest bass teachers in the New York area at that time: Homer Mensch. Recently our paths did finally cross thanks to one of our mutual acquaintances, bassist and composer Joe Russo. Nathan likes to write down the names of his long lost good friends on walls, or any writing surface, and Joe's name is always there, scribbled amongst his favorites. This was where Steve noticed Joe's name and Googled him to look up his website. A new and close friendship resulted between them, and the many anecdotes that Joe pulled out of Nathan's past were worth their weight in gold to Steve, enough to devote the entire chapter 8 of the book to Joe!

To me, reading this book made me come to the conclusion that every man has his hour in life, and Nathan's time had come now. The chances of 2 men, one homeless and one not, being pulled together through the sound of a violin in a rush hour tunnel, were undoubtedly written in the stars. Through articles, a book and now a film on Nathan, Steve helped uplift a poor and abandoned part of society to a rank that it never imagined nor asked for, but morally deserved. We all know that the Internet is indeed capable of connecting and reconnecting people in the present, but only music can magically, throughout time, open the doors that connect all of us to one another.

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.