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Soloist (The)
R1 - America - Paramount Home Entertainment Review written by and copyright: Ethan C. Stevenson (9th August 2009). |
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The Film
 Sometimes good movies get shafted when it comes time for them to be marketed. In the case of "The Soloist" this is undoubtedly true. Here is a film so poorly represented that when I first heard that it was being prepped for a DVD/Blu-ray release, my initial thought was that Paramount had made an odd choice to put the film directly to video: something that couldn’t possibly be true; not with such top-roster stars as Robert Downey Jr. and Jamie Foxx in the leading roles. Whoever was in charge of promoting the film did, quite frankly, a terrible job. In fact, had it not been for one measly trailer shown on film critic Robert Wilonsky’s high definition trailer show on HDNET (a niche program on a niche channel), I would have never even known this film existed (at least not until many, many months later when it would finally hit home video; and even then I probably wouldn’t have looked twice at it had I not had some previous knowledge). I never saw trailers during commercial breaks between so-called ‘normal’ programming (don’t chock this up to my lack of TV viewing; I do a lot of it, on many channels, so my missing of a TV spot was not for lack of trying). The quick promotional bit I did glimpse on Mark Cuban's all-HD channel didn’t particularly grab me either, so, apparently, if trailers existed and were playing on all those other channels I just happened to not be watching, said trailer likely wasn’t that good any way. What is the film about? Well, to put it simply: "The Soloist" is the story of Nathaniel Anthony Ayers (Jamie Foxx), a gifted cellist and schizophrenic whose symptoms first manifest during his second year at Julliard. Eventually, due to his mental instability, Ayers is homeless on the streets of Los Angeles where L.A. Times columnist, Steve Lopez (Robert Downey Jr.), finds him and begins writing Nathaniel’s story. The film is based on real-life events, which occurred in 2006. I will point out that "The Soloist" is a film not without issues. The script is laden with a few unnecessary subplots, one of which is steeped in social critique, and they all bring the film to a grinding halt whenever any of them appear. Scribe Susannah Grant spends far too much time using the film as a vehicle to bring awareness of the homeless’ plight to the movie going public. A noble cause, sure, but the proportional amount of time spent on this element brings the film – primarily, at its core, the story of the friendship between Steve Lopez and Nathaniel Ayers – to a near standstill. I can, however, forgive the former subplot; although problematic to the films narrative flow, its heart is in the right place. I cannot as easily forgive the second and third, far more irrelevant side steps though. One that focuses on Lopez and his tumultuous relationship with his ex-wife is admittedly true – as in, it was not fabricated by the scriptwriter – and it is part of Lopez’ story, but it still feels petty; not anywhere near as relevant as the far nobler diversion into homelessness. An even smaller plot revolves around the tough times the newspaper is facing; with readership dropping to depressingly low levels, everyone is in fear of losing their job if they don’t continue to pump out interesting work (Oh no!). Again, an element that, nonetheless true, seems even pettier than the time spent on the ill-begotten relationship Lopez has with Mary, his ex-wife. The film also has faults in it’s structuring: director Joe Wright fails to weave an elaborate (or even simplistic), intriguing singular narrative. Instead the film seems to jump from event to event without any real sign of where we’re going and when we’ll get there. This is somewhat forgivable, as the story within the book on which this is based, and the real-life events that said book chronicles, remain nowhere near finished. But, those issues are damn near irrelevant to something like "The Soloist", a film that lives not on the direction, or even, at least not heavily, on the script. No, "The Soloist" thrives on its performances, which are, in a word, exquisite. “I don’t want to name names – you know, no one even comes to mind – but we’ve all seen crazy done wrong. And crazy done wrong is like; you’re finished, in a way. On a certain level, it’s like you went for the brass ring and you hit the horse hooves. You suck,” says Robert Downey Jr. in the discs supplements; his comments are in response to Jamie Foxx’s portrayal of Nathaniel Ayers with which Foxx certainly hits the rings and not the hooves. His highest level of acting prowess is in full effect here – yes, it is Jamie Foxx under the makeup and behind the troubled façade of a schizophrenic mind. And to that effect this is the real impressive aspect of the film: its sense of realism. Both leads are soon forgotten as actors and fully become real people. You suddenly forget that this is Jamie Foxx, that guy from Michael Mann's remake of "Miami Vice" (2006). And Robert Downey Jr. – well, it completely amazes me that he can both pull off his role in "Tropic Thunder" (2008): a character with which you are ever conscious that it is Robert Downey Jr. playing a Russell Crowe knock-off, playing the African-American Sergeant Lincoln Osiris; and then appear to be nothing more than a real person, as he does here in "The Soloist" when he embodies Steve Lopez. Both Foxx and Downey are a testament to the method approach. Is the film perfect? No, but its certainly a compelling piece. It’s a real shame that Paramount didn’t put more into advertising this film as the performances alone make this worth a watch.
Video
Presented in anamorphic 2.40:1 widescreen, "The Soloist" is, at least visually, an understated and subdued film with occasional flashes of brilliance. Solid, respectable colors and good-for-DVD clarity, I can’t expect the 480i format to do much else with this picture. The photography is a little grainy and the limited bitrate and resolution of the standard definition delivery system has difficulty fully developing the grain – leaving it more on the blocky, noisy side of things. Contrast fluctuates, encompassing both deep, luscious blacks and flat unsubstantiated grays that can’t help but seep in from time to time. The scenes lit by day are, as one expect, much better faring than when the film slips to under-lit and dark, nighttime sequences. And, stylistic choices – such as occasionally footage shot to mimic standard def videotape does hurt a bit. Edge enhancement is not fully eradicated here as some of the long shots seem edgy and show signs of haloing. Although "The Soloist" looks decent enough it seems that this is the type of film that would do well to be viewed in high-definition, on the Blu-ray format. It is, I find, a far more pleasing way to grasp subtly shot films such as this. And, the 1080p format would do much better with compression and detail.
Audio
The default is a 448kbps English Dolby Digital 5.1 mix as well as French and Spanish Dolby Digital 5.1 as well. Like the video this is a bit understated at first. However, when it’s good, it’s very good. The track is almost bi-polar in nature, part-time playing out as a front heavy, dialogue driven film and then very quickly and forcefully, it opens up with full-encompassing immersion, deep expressive bass and strong clarity. Not really a surprise, the numerous classic music pieces are the strongest parts of the film. Again, I imagine the lossless TrueHD encode on the Blu-ray is even more impressive and the more fulfilling way to watch (or, I guess, more correctly: listen to) the film. The DVD is good though – at times great (within the confines of the format, of course). Like most recent Paramount/DreamWorks DVDs, the standard selection of audio tracks are accompanied by subtitles of the same variety of English, French and Spanish.
Extras
Paramount/DreamWorks offers up a standard helping of extras for "The Soloist" including an audio commentary, multiple featurettes, an animated PSA, deleted scenes and bonus trailers. Video based supplements (pre-menu trailers and deleted scenes excluded) are presented in 16x9-enhanced widescreen. Director Joe Wright flies solo for the lone audio commentary on this disc (oh how much I long for a Downey track you do not know) and it’s decent, one of the better solo commentaries I’ve heard of late actually. Wright’s affable and entertaining enough on his own, discussing shooting locations, actors and fun little facts about the production. "An Unlikely Friendship: Making The Soloist", a featurette running 19 minutes 37 seconds, is an above average ‘making of’ – well produced; honest, forthright commentary on the films origins and production with behind-the-scenes footage woven throughout. "Kindness, Courtesy and Respect: Mr. Ayers + Mr. Lopez" featurette is a short discussion with the real life persons depicted in the film, running 4 minutes 48 seconds. It’s easy to see even in this minuscule featurette that the two men have a deep and affecting relationship. "One Size Does Not Fit All: Addressing Homelessness in Los Angles" is a featurette, running 9 minutes 45 seconds, that plays out more like a PSA. The cast and crew as well as real life workers of LAMP and other Homeless Assistance programs discuss the problems of poverty and homelessness in LA, a city with more displaced individuals than New York, Philadelphia, Chicago and San Francisco COMBINED. "Beth’s Story" is an animated PSA that tells the story of Beth, a woman who, by no fault of her own (rather due to the system that failed her) ended up homeless and on the street. The PSA ends with a depressing statistic – “3.5 million Americans are homeless: 1.4 million are children.” This runs 2 minute 2 seconds. Five deleted scenes (in reality, most of these play out like scene extensions): - "Hospital Questions": After his accident, Steve is asked a series of increasingly personal questions. 1 minute 34 seconds. - "Audition": Nathaniel is harassed and laughed at on his way to his first audition. 1 minute 16 seconds. - "I’m No Good": Questioning his faith, Nathaniel has an episode during a banquet; he strips himself down to his underwear and knocks over a benefactor. Glimpses of electro-shock therapy and finally, a sequence where Steve videotapes Nathaniel playing his cello. 3 minutes 19 seconds. - "Some Life": Steve watches from afar as Nathaniel reconciles with his sister. Later Nathaniel plays for his sister, as shots of Steve in deep reflection are inter-cut. 1 minute 16 seconds. - "I Want the Concert to Go On": Nathaniel and Steve listen to a concert piece in his Saab. Nathaniel remarks, “I want the concert to go on forever.” 2 minutes 32 seconds. Bonus trailers are for: - "Defiance" runs for 2 minutes 17 seconds. - "Shutter Island" runs 2 minutes 31 seconds. - "The Curious Case of Benjamin Button" runs 3 minutes 34 seconds. - "Revolutionary Road" runs 37 seconds. - "Steve Lopez PSA" runs 21 seconds. - "Tobacco Free America PSA" runs 34 seconds.
Overall
Thank Zeus for the DVD/Blu-ray home video market. Without it, films like "The Soloist" would likely be lost forever. A film so deserving of an audience, alas it never got one during its theatrical release because of poor marketing. Now, in the comfort of your own home, you can watch the story of an unlikely friendship unfold. The DVD has acceptable, slightly above average video, excellent audio and some solid if straightforward extras.
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