In 2005, the only thing hurting Los Angeles Times columnist Steve Lopez more than his face from a recent bike accident was his pressing need for story ideas. That is when he discovers Nathaniel Ayers, a mentally ill, homeless street musician who possesses extraordinary talent, even through his half-broken instruments. Inspired by his story, Lopez writes an acclaimed series of articles about Ayers and attempts to do more to help both him and the rest of the underclass of LA have a better life. However, Lopez's good intentions run headlong in the hard realities of the strength of Ayers' personal demons and the larger social injustices facing the homeless. Regardless, Lopez and Ayers must find a way to conquer their deepest anxieties and frustrations to hope for a brighter future for both of them. Written by
Kenneth Chisholm (email@example.com)
The film makers shot on "skid row" in Los Angeles, which is known for being home to one of the largest stable populations of transient persons (homeless) in the United States. See more »
In his commentary during the scene when Lopez meets Ayers in the tunnel, director Joe Wright admits that the traffic is all vehicles from the production going around and around (at approx. 17:30). Just after he says that (between 17:35 and 17:59), several vehicles in the background of the shot are indeed visible, though out of focus, making u-turns one after another. See more »
[greeting his co-workers]
Buen dia, muchachos.
"Points West" by Steve Lopez. A construction worker in Griffith Park heard the
[swerving his bicycle to avoid a raccoon]
He saw a cyclist cartwheel off his bike and slam face-first into the unforgiving asphalt of Riverside Drive.
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At the end of the credits, the music concludes with the sound of a cassette tape grinding to a stop, referencing Lopez's omnipresent recorder. See more »
Within a one-week period, I saw my second screening of this powerful movie today. I am mystified by some of the "bilious-type" reviews found here, seemingly driven by an anti-Joe Wright campaign. I found no cheap sentiments in the story line and I was awed by the high-octane performances of Jamie Foxx and Robert Downey, Jr. Nothing being perfect in an imperfect world, as "adult" entertainment, "The Soloist" did not once insult my intelligence. I marveled at the complexity of the screenplay and the realization of it by its gifted director and the camera-work of Seamus McGarvey. The gifted Dario Marianelli is credited as the film's composer, anecdotally, in the gigantic shadow of Ludwig van Beethoven. Mental illness, genius, homelessness, journalism and music has rarely been so well presented as an "entertainment." Yes, Mr. Ayers is depicted as experiencing a "light show" when attending a rehearsal of the L. A. Philharmonic. At least we didn't see pink hippopotamus in tutus or dinosaurs on a rampage in a prehistoric setting. Being so accustomed to televised concerts, I expected the camera to focus on the instruments themselves in this sequence. And, "clapping pigeons." Great idea that works. A brave film directed at a "non-art house" audience. I also want to cite the wonderful work of Nelsan Ellis who plays David at LAMP. So much compassion comes off the screen with his presence. There is no way we can make "light" of the tragedy of the homeless, so many with mental illness. Thank you Mr. Steve Lopez for introducing me to Mr. Nathaniel Anthony Ayers. My life is richer for the experience. LisaGay Hamilton, as Jennifer Ayers, Nathaniel's sister, deserves recognition in a small, but pivotal role that brings dignity and catharsis to a heart-wrenching experience.
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