It just dawned on me that I forgot to post a review for THE SOLOIST, a film that I watched many weeks ago but forgot to write about. But don't worry, it's not much to write about. Sadly, THE SOLOIST takes some wind out of the sails of Joe Wright, a director who had just made two four-star films prior to this one in "Pride & Prejudice" and "Atonement." Maybe he does better work in England?
Based on a true story, THE SOLOIST centers around L.A. Times journalist Steve Lopez, who, in the aftermath of an accident that has left him with significant (but recoverable) injuries, happens upon a street musician by the name of Nathanial Ayers. Played by Jamie Foxx, Ayers is a raggedy, slightly-frightening looking guy who quickly diffuses any fear one would have of him with his sentimental violin playing. Lopez is intrigued. Maybe he has a column idea there...some story to tell.
Upon closer inspection and conversation with the not-quite-there Ayers, Lopez learns that Ayers was once enrolled at Julliard. A gifted cellist, he traded his instrument for the much more portable violin when he took to the streets later in his life. Now homeless, Ayers is mostly ignored by his family, and by the people walking by. Lopez sees the beauty through the ugliness of Ayers' appearance and the venues in which he plays, such as the undersides of viaducts.
When Lopez brings Ayers a cello as a gift from a reader who has read his column, a bond develops between the two men. But the bond is never fully realized in the film. Despite the formitable talents of Foxx and Robert Downey Jr. (one of my all-time favorites) as Lopez, we're never fully made to understand Ayers' debilitating mental state. Nor do we ever fully figure out just what draws Lopez to Ayers in friendship. At one point, Downey delivers a line to the effect of "I've never loved anything as much as he loves music," much to chagrin of the woman sitting next to him, played thanklessly by the excellent Catherine Keener. I guess this is supposed to be the point of the movie, but little comes of it.
In theory, THE SOLOIST had all the trappings of what I love in a movie and in life, and as such it adds up to one of the biggest disappointments of the year for me. I love the actors in the film. I am passionate about music and believe in its transcending and healing power. I love a story of inspiration. I love stories of friendships that transcend demographics and transform lives. So what happened?
Wright misfires in spots. In one scene, when Lopez takes Ayers to the symphony, we "see" colors swirling around: Ayers' interpretation of what he is hearing. His feeling of the music is great in theory but cinematically lousy. So, too, (sadly) is Foxx as a violin player. Kudos to method acting - Foxx really plays. But not well enough to make a stranger suspect that he might have been Julliard-trained.
There are some interesting side-tracks involving a homeless shelter where Ayers is forced to go to play the stationary cello, and late-in-the-film scenes where Lopez brings in a professional musician to attest to Ayers' greatness and a family member to confront his homelessness. It all falls surprisingly flat. In the end, I cared far less about all of these people than I had a right to, and I was as perplexed about Ayers' mental state as I was upon first being introduced to him.
THE SOLOIST just didn't work for me. And that's sad. Because on paper, it looked like beautiful music.
1.5 out 4
Based on a true story, THE SOLOIST centers around L.A. Times journalist Steve Lopez, who, in the aftermath of an accident that has left him with significant (but recoverable) injuries, happens upon a street musician by the name of Nathanial Ayers. Played by Jamie Foxx, Ayers is a raggedy, slightly-frightening looking guy who quickly diffuses any fear one would have of him with his sentimental violin playing. Lopez is intrigued. Maybe he has a column idea there...some story to tell.
Upon closer inspection and conversation with the not-quite-there Ayers, Lopez learns that Ayers was once enrolled at Julliard. A gifted cellist, he traded his instrument for the much more portable violin when he took to the streets later in his life. Now homeless, Ayers is mostly ignored by his family, and by the people walking by. Lopez sees the beauty through the ugliness of Ayers' appearance and the venues in which he plays, such as the undersides of viaducts.
When Lopez brings Ayers a cello as a gift from a reader who has read his column, a bond develops between the two men. But the bond is never fully realized in the film. Despite the formitable talents of Foxx and Robert Downey Jr. (one of my all-time favorites) as Lopez, we're never fully made to understand Ayers' debilitating mental state. Nor do we ever fully figure out just what draws Lopez to Ayers in friendship. At one point, Downey delivers a line to the effect of "I've never loved anything as much as he loves music," much to chagrin of the woman sitting next to him, played thanklessly by the excellent Catherine Keener. I guess this is supposed to be the point of the movie, but little comes of it.
In theory, THE SOLOIST had all the trappings of what I love in a movie and in life, and as such it adds up to one of the biggest disappointments of the year for me. I love the actors in the film. I am passionate about music and believe in its transcending and healing power. I love a story of inspiration. I love stories of friendships that transcend demographics and transform lives. So what happened?
Wright misfires in spots. In one scene, when Lopez takes Ayers to the symphony, we "see" colors swirling around: Ayers' interpretation of what he is hearing. His feeling of the music is great in theory but cinematically lousy. So, too, (sadly) is Foxx as a violin player. Kudos to method acting - Foxx really plays. But not well enough to make a stranger suspect that he might have been Julliard-trained.
There are some interesting side-tracks involving a homeless shelter where Ayers is forced to go to play the stationary cello, and late-in-the-film scenes where Lopez brings in a professional musician to attest to Ayers' greatness and a family member to confront his homelessness. It all falls surprisingly flat. In the end, I cared far less about all of these people than I had a right to, and I was as perplexed about Ayers' mental state as I was upon first being introduced to him.
THE SOLOIST just didn't work for me. And that's sad. Because on paper, it looked like beautiful music.
1.5 out 4
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