Adeus

I was trying all week to get these tickets for GOODBYE SOLO at the London Film Fest because I've seen both the directors previous works which had also played there- Man Push Cart and Chop Shop. As soon as the film began i became mesmerized by the seamless blend of the story and photography. Solo is a good natured cabbie from senegal, trying to balance happiness for himself as well as the responsibilities he has for his wife and daughter alex. As Solo develops a relationship with an old man, William - it hits him, he realizes this old man is going to jump off a mountain and he must save him- and his day to day responsibilities shift dramatically, creating a new world for Solo. He even brings in Alex to help him- the three make a new, simply warm friendship. I really felt for Solo and his desire to save the old man who wouldn't bend from his own path. the evolution of their relationship to the very end- made this a truly captivating and real experience you just don't get from the theaters nowadays. not only i really wanted to know what would happen next, but the first half was really funny. i mean, people were laughing out loud, which is different from ramin bahrani's other films. i absolutely recommend this film because it digs deep into you and doesn't let go for days after. I was also lucky enough that the director and the actor (whose name is also Solo) were there and i was able to personally congratulate them on their creation. that guy solo is really good. everyone was commenting on him. check this out if you get a chance.

Solo was a relentlessly optimistic character, regardless of the setback, he rebounded immediately. Or, he brought himself back to a sunny state by a deep and touching effort that was illuminated with care and beauty. The older man, William, on the otherhand, worked hard to maintain his life-has-beaten-me-down disposition. So when a happy/touching moment overtakes him, the director shares the ray of hope, the precious glimmer of being touched despite himself. So the film is filled with these gems welling from opposite natures pushing against each other. The buds of nature push forth despite the obstacles. Solo was the everchanging sunshine in this film.

The pacing was not rushed and only 1 or 2x did I find myself saying "I got it, move on". The acting was genuine and I was amazed how everday, duldrum existence was portrayed with compassion among people who have little possessions, yet no glories imposed, no moments of drama asking for viewer's awe (i.e. Streepless).

The cinematography was expertly crafted: people were positioned that complimented and complemented the background scene. The bleakness of the tobacco-industry sooted parts of town was not beautified, rather its interest captivated me in showing its richness in layers of aging infrastructure moaning as a tired, old beast. Again, I was consistently sated when I looked at the mis-en-scene.

This film is a big reward for seeking out independent, small-budget films---something I seldom have with any film.

Some people are so attached to their story that they manage to continually sabotage their aliveness and their capacity for love. Even when someone reaches out to them and challenges the skewed way in which they have constructed their world, they effectively shut them out. Ramin Bahrani's third feature, Goodbye Solo, is about William, a man clinging to his victimization act so tightly that he turns away from the only person who cares, a high-energy cab driver from Senegal who is willing to go the extra mile to tear down the wall that separates William from his fellow human beings.

Similar in narrative to Abbas Kiarostami's masterpiece A Taste of Cherry, Solo (Souléymane Sy Savané) a Senegalese immigrant living in Winston Salem, North Carolina (where the director grew up) picks up a 72-year-old Caucasian passenger named William, played by Red West, a former Marine, stuntman, boxer, and bodyguard for Elvis Presley, who Solo refers to as "Big Dog". We learn next to nothing about the cantankerous old man. He refuses to engage the gregarious Solo in conversation except to offer him $1000 to drive him to Blowing Rock, a windy mountainous area, in two weeks with the depressing implication that it will be the end of the road for him, both literally and figuratively.

Similar in theme to Mike Leigh's Poppy in Happy-Go-Lucky, Solo does not back off from his selfless display of good humor even when confronted by William's cold rejection. He maintains his optimism when studying for an exam to become a flight attendant. Solo knows where to find drugs or a sexual partner but there is no hint that he ever partakes. Eventually some of his positive attitude begins to break down barriers. William helps Solo in his studying, and allows him to move into his motel room when he runs into marital difficulties with his pregnant Mexican wife (Carmen Leyva). They go out drinking together, Solo introduces him to his stepdaughter Alex (Diana Franco Galindo), does his laundry for him, checks his medicine stash to see if he has some hidden terminal illness, and even searches the motel room to try and find a picture of a relative he could contact.

Gradually the two men appear to draw closer, at times showing moments of connection, and then falling back into uncertainty and rejection. Solo still searches for the clue that can prevent the inevitable, even going so far as to find out why William continually attends a local movie theater and engages in conversation with the young cashier at the box office. Bahrani's Solo is not a stereotype of the cool hip black man out to rescue the forlorn white man from himself. Solo is a multi-faceted human being with his own set of problems who is always depicted with respect. The finale, shot in the beautiful North Carolina Mountains in October, captures the stirring symphony of autumn color, and the long look that William and Solo give each other before they part is the essence of compassion, given freely with an open heart - even to the point when no payback is achieved or expected.

I saw CHOP SHOP at the film forum and loved it, so when a friend told me to go see GOODBYE SOLO, I took the recommendation. SOLO was different from what I expected. It was a lot funnier than CHOP SHOP. I laughed so hard, especially in the beginning. Toward the end, things start to get a lot more emotional. It's a life-affirming film with such a subtly of power that it's haunting. Once the film was over and everything sunk in, it stayed with me, even after leaving the theater and into the night. This is proof enough that Ramin Bahrani has made something original and vital. Like in CHOP SHOP, you can feel the soul of these characters. I can't wait to see what he will be working on next. I hope these actors go up for huge awards or make great careers for themselves, and I hope that Bahrani keeps making movies as good and as sublime as this one.

I admit, I was very worried when I saw the trailer for this film that Bahrani had sold out or made his first bad film. I was worried this was going to be something awful like The Legend of Bagger Vance or The Bucket List. Something cheesy, sentimental, or with an angel black man who saves a white man. Thank God none of that was true! The film is sooooooo GOOD! I loved Bahrani's first two films and wish more people had seen them. But this is his best film yet and I am glad it has a wider release! The characters are real, honest, sincere and once again Bahrani manages to avoid all the normal plot devices that ruin films. Compared to Man Push Cart and Chop Shop, Goodbye Solo has a much stronger story-line and is really tense. You always want to know what happens next, but especially the last 30minutes the audience I saw it here at SXSW were rivited. AND-- it is funny! The first half of the film is really funny and I didn't expect that at all! A lot of that is the writing and directing, but a lot is the acting. That guy playing Solo is so charming he has star written all over him. His warmth and personality make the film something really special, especially next to the old man playing William. He is just perfect in the role, as if it was written for him. The movie left me feeling a little sad, but also really strong and hopeful, which sounds weird, but it's true. Its been days since I saw the film, and I saw many others at the festival, some good ones too, but this is the one that stayed with me. It is the best film I have seen all year and I will see it again when it opens in Austin.