THE SOLOIST
US, 2009, 117 minutes, Colour.
Jamie Fox, Robert Downey Jr, Catherine Keener, Tom Hollander, Lisa Gaye Hamilton, Nelsan Ellis, Rachel Harris, Stephen Root.
Directed by Joe Wright.
A film which seems to have divided audiences. Some have been very moved by the story and impressed by the treatment. Others have felt detached and unmoved, some hostile, critical of the screenplay and the ways in which the characters are portrayed.
This review is from the 'moved' perspective.
Robert Downey Jr is Steve Lopez, a columnist for the LA Times, always in search of a story. He himself is in something of a trough, ex-wife who is his editor, no contact with his son at college, sackings going on at the paper... (In fact, while Lopez is a real character and was a consultant for the film, he is happily married with three children, the change being for dramatic purposes). Catherine Keener plays his former wife.
One day, sitting outside, he hears a violin. He discovers that the musician, Nathanael Ayers Jr, is one of LA's 90,000 street people. He strikes up a conversation only to find that the player has mental problems, chatters on (something like David Helfgott in Shine which The Soloist resembles in many ways) and had studied at the Julliard School of Music. The film is about each character and a growing friendship and respect. Some critics have commented that the film focuses too much on Lopez and his growing awareness of his limitations and discovery of his better self; they would have preferred more on Ayers. Some have also commented on the fact that Ayers is black and the film emphasises the 'redemption' of the white man. It also shows how any man (in this particular case a black man) can transcend his past without necessarily being freed from mental illness.
The film shows Lopez's journey from do-gooder on terms that he takes for granted (that everyone wants to live in a house, that mental illnesses need to be diagnosed quickly for medication so that street people can be controlled as well as helped). After a rebuff from Nathanael, he comes to learn respect and friendship.
However, Lopez would have no story without Nathanael (who, with his sister, also acted as technical advisers for the film). As played by Jamie Foxx, he is an arresting and interesting character, and, in no way, a sentimental cypher. It is an excellent and convincing performance that should help audiences empathise more with those on the streets. Some who do not like the film also complain that the only reason that Nathanael is interesting is because he is such a talented musician. In fact, the film pays quite some attention to other homeless people and puts some fine critical words into the mouth of the man who runs the LAMP shelter in Los Angeles. (And the character of Mary, the ex-wife, also makes the point of asking whether Lopez is interested in Nathanael only because of his columns.)
Nathanael has a great devotion to Beethoven and classics, including Bach, pervade the soundtrack.
Director Joe Wright made Pride and Prejudice and Atonement and brings a British eye to photographing the city of Los Angeles and its streets with many aerial shots as well as in ground level detail.
Excellent lead performances whether the audience is moved by the story and the characters or not.
1.A true story – with some elements fictionalised? A moving film?
2.The appeal, humanity, sentiment? Hope, in the American context? Los Angeles and the homeless people?
3.The range of Los Angeles settings, the streets, the buildings, the tunnel, the Skid Row area, the Disney Pavilion? The LA Times building?
4.The score, the use of classics, the acknowledgment of Beethoven and Bach? The range of instruments and performance?
5.The two stories, the flashbacks, the interweaving of the stories?
6.Robert Downey Jr as Steve Lopez? Screen presence, intensity? Cycling, the accident? His work, the Los Angeles Times, the popularity of his column, searching for stories? The accident, hospitalisation, treatment? At home, by himself, having a house? His relationship with his ex-wife, his son? Middle age? At work, discussing with editors and journalists, the effect of the accident on his face? With Mary, ex-wife, discussions, friendship? With the members of the staff? His sitting alone, hearing the music, searching for the source? Finding Nathaniel, talking with him, his reaction to Nathaniel’s presence, appearance, talk, personality? Sensing a story? Mary’s cynical comments later that he was just after a story rather than wanting to help? The scenes of his writing, the voice-over? The information about Juilliard of Music? Phoning, the later call-back and the information? Contacting Nathaniel’s sister, hearing his story? The gift of the cello? The readers’ response? Finding the tunnel, the deal with Nathaniel, Nathaniel having to go to LAMP? Lopez waiting, the no-show? His mingling with the people in Skid Row, driving his car, the people watching him, the African Americans? The range of people in the centre, the old lady, the blind man? The woman with the blotched face? Discussions with David? The issue of the apartment, Nathaniel not wanting to go inside, wanting the lesson in the corridor? Lopez and his interactions with Nathaniel? Not finding him, being late for the award? The mayor, the speech and the money going to the poor? Lopez’s wry comments on Governor Schwarzenegger? The images of Bush on the television in the background? At the apartment, the arrests, the treatment by the police, the fact that Nathaniel went and stayed in the apartment? Graham Claydon, coming for the lesson, watching Nathaniel play, touching him and Nathaniel’s reaction? The concert, the failure, Lopez’s reaction? The discussions with David, the issue of diagnosis, medication – and David’s advice to Lopez about friendship? The documents, custody, Nathaniel angry, his verbal abuse of Lopez and the attack on him? Lopez leaving, miserable, discussions with Mary at home? Meeting with him, Nathaniel’s apology? Lopez saying he should have offered respect, calling him Mr Ayres? The friendship, not imposing? The finale at the concert, with Mary and Nathaniel’s sister? Lopez acting as a consultant for the film?
7.Nathaniel, his story? His childhood, parents, sisters, his fears, playing music, the gift, being absorbed in it, the teachers and their response? His getting older, lack of mental stability, talking to himself, the music and his joy? Going to Juilliard, the students, in the orchestra, playing off-key, talking to himself, the collapse? The images of his being violent and smashing furniture? His disappearance?
8.Nathaniel on the street, his cart, his goods, sense of freedom, mental condition, talking to himself, separated from reality, his interaction with others, his lists and facts and incessant talk? His playing, the one-string violin, the tunnel, the cello, sleeping conditions? The cello and testing it? Going to LAMP, at home with the people? His being late, not inside, wanting the lesson in the corridor, reaction to Claydon’s touching him, the concert, his nervousness, his memories, being unable to play? His hiding in the apartment? His reaction to the documents, his anger, the profound apology later? Lopez bringing his sister to him, sitting with her, holding her hand, the possibility for care? The effect of the friendship with Lopez, on himself, his changing Lopez?
9.Mary, the collapse of the marriage, at work, friendship, at the awards, drinking, Lopez’s visit to her, their reminiscing, at the end at the concert?
10.Claydon, his religious background, wanting to help Nathaniel, the lessons, comments, his talent, the concert and its failure?
11.The world of the LA Times, the authentic filming in the offices? The members of the staff, their work?
12.David, running LAMP, a good man, his ideas, grounded, the challenge to Lopez?
13.The range of people at the shelter, the old lady, the blind man, the woman with the blotched face? The ending and Steve Lopez dancing with the people?
14.Los Angeles as a character, the streets and the buildings, the intercutting of overhead aerial views of the city, the freeways, the homes and pools…?
15.The impact on the audience, of a story, empathy for those with mental illness, understanding?
