The Soloist: A Noteworthy Film

The Soloist is a fact-based account of interactions between two men who discover one another in the midst of urban chaos, unfulfilled desire, and personal dysfunction that strike an unusual chord of friendship despite limitations of social and mental disorder. Los Angeles Times columnist Steve Lopez (Robert Downey, Jr.) and virtuoso Nathaniel Anthony Ayers (Jamie Foxx), a homeless Julliard trained musician meet in a public park as Ayers beautifully serenades Beethoven’s statue playing a worn violin with only two strings. Lopez is hungry for a career-rejuvenating article with powerful first-person impact. He immediately realizes the potential of a great feature – and job security – in Ayers’ story, and sets out on a course of action motivated by self-interest and personal gain that quickly transitions into novice attempts to help the musician get back on his feet and realize his dreams, not the least of which is to perform at Walt Disney Concert Hall.

There are obvious complications. Ayers exists in a world obscured by schizophrenia. His days are consumed with complex myriads of sounds of L.A., echoes of resurrected life events, and concerts of inner voices muted periodically by his own impromptu recitations and transcendent musical performances. Lopez lives in a state of defeat and resignation, overwhelmed by the downward emotional spiral defining his life - a life exacerbated by the declining newspaper industry and incessant mantras of failed relationships resonating through the voice of ex-wife and fellow journalist portrayed effectively by Catherine Keener. He unexpectedly slips into the role of Ayers’ “savior” , and once this is realized, becomes conflicted by his awareness of the associated psychological commitment and personal responsibility - unwanted mammoth positions he prefers (and seeks) to avoid.

Ayers, though ill and irrational is consistent in his emphasis on a self-constructed state of bliss, affection for Beethoven, and pure passion for music. In witnessing his musical genius, Lopez experiences something close to redemption, and as he brings public awareness to the incredible uniqueness of Ayers, he discovers things about his own flaws, weaknesses and needs. Ironically, it is Ayers who is the fixture. His intent, agenda and dreams remain intact. The major difference in his life is geography. On the other hand, it is Lopez who changes, who rethinks the meaning of friendship and family, and who experiences new eyes. Metaphors of mirrored similarities in the presence of profound difference are discernible throughout the film for those viewers inclined to travel such routes, but it is a worthy movie without these interpretive explorations. Credit is due director Joe Wright (Atonement, Pride and Prejudice) for snatching the plot back and continuing to tell Ayer's particular story just before it spills over into a cinematic monologue on the homeless or mentally ill on L.A.’s skid row - there is candid, raw footage that deals straightforwardly with aspects of both social concerns that strays ever so gently from the professed focal narrative. The intertwined aerial views and sound equivalents presented in vivid color formations are nice, unexpected extras worth noting as well.

The film is not perfect, but the performances of Janie Foxx and Robert Downey, Jr. are. Foxx brings calculated weight and credibility to the illness, frayed existence, and complicated talent of Ayers. Downey, Jr. is utterly believable as the uncertain, anxious down-and-outer who endeavors to help, yet being poorly-prepared, literally makes it up as he goes along. They nail the necessary on screen chemistry, and both give performances worthy of Oscar consideration.

Grade: B+