The Soloist
There’s something deeper than just your average “inspirational true story” saga in this beautifully-acted work by “Atonement” and “Pride & Prejudice” director Joe Wright. Taking his cue from the novel by L.A. Times writer Steve Lopez- played with flawed soul by Robert Downey Jr.- and screenplay by “Erin Brockovich’s” Susannah Grant, Wright makes the film into more than just the story of Nathaniel Anthony Ayers Jr. by examining a greater issue of homelessness on a larger scale in Los Angeles.
But Lopez’s story and friendship with Ayers is what drives the film. It starts unexpectedly- Lopez is at a low point, estranged from his ex-wife/editor (Catherine Keener in another marvelous performance) and son, and has just gotten into a bike accident that leaves him pretty well bruised. He comes across Ayers on accident- he’s playing a two-string violin near a local statue of Beethoven- and is immediately taken by him, especially when he says he went to Julliard (he was a cellist). He didn’t finish, though- Julliard is when Nathaniel’s mental state started to deteriorate. Now he lives, rather blissfully, on the streets, content to play his violin. He’s estranged from his sister, but Lopez sees the potential in this human interest story.
As played by Jamie Foxx, you will too. Ayers could have been played like Radio was by Cuba Gooding Jr. in that 2003 movie, which was uplifting and manipulative to a “T.” But Foxx presents Ayers purely, without any of the “lovable” acting touches we’re used to seeing in such characters. This makes Ayers a dangerous character at times- when Lopez pushes too much, he gets quite violent, goaded on by the non-stop voices in his head. It’s scary stuff that Wright and the actors don’t shy away from. It’s that uncompromising nature in the way they tell the story that makes it so uplifting. Instead of just playing him as a cinematic creation to be adored, the fact that they present Ayers as an active threat to not only himself but Lopez makes the film even stronger, and makes the bond they form even more potent.
Not that Lopez is an easy saint of a person, however. His motives at the start seem purely cynical, but he’s genuinely curious as to what happened to this fragile soul. And when an old woman sends him a cello to give to Ayers as a gift- which really brings out the power of his artistic abilities- Lopez sees an opportunity to help Ayers in a deeper way than just writing about his plight. He gets him an apartment, cello lessons with a member of the Los Angeles Philharmonic, but it’s when he takes him to the LAMP Community center for homeless and mentally ill individuals when a larger epidemic comes into light. Downey Jr. plays every note of this character with biting precision- he’s not afraid of revealing the narcissism in Lopez’s actions and showing the character at his lowest moments.
But by the end, Lopez comes around to the real tragedy in Ayers situation (and that of others in his situation), and he sees him less as a story and more as a friend. It’s not an easy friendship for either, but it’s one that has sustained until this day, and has allowed both a sense of grace in their lives. Remarkable stuff- Lopez is inspired by Ayers’ courage and his art, and in befriending him, Lopez finds his own courage, the kind that loves unconditionally, even when things are most difficult. Wright and his two actors make us hope to find that same level of courage in our own lives. I know personally it’s not that easy of a thing to do.
