Review of Goodbye Solo (2009) by Thomas G — 20 Aug 2009

Welcome to the big leagues Ramin Bahrani. I've read a lot about this breakout filmmaker. Legendary film critic Roger Ebert has recently declared him the new great American director. Highly respected New York Times film critic A.O. Scott has also been raving about this young and promising talent. On Netflix instant watch his sophomore effort, "Chop Shop" was available for viewing. It turned out to be a superb neo -realism take on the poverty stricken underbelly of New York City. He used non-actors to strengthen the slice-of-life depiction he undeniably captures throughout. It was a heart-breaking film about a child street orphan, a haunting experience to watch unfold, but altogether showing a glimpse of hopefulness in the end. Unfortunately, his debut, "Man Push Cart" will not be available for instant watch viewing until September 1st. Bahrani's third film, "Goodbye Solo," is an incredibly moving drama. Keeping his slice-of-life style intact, Bahrani has crafted a film that captures two men, their lives, and their immediate dilemmas in pursuit of the American dream.

Bahrani starts the film in mid-conversation, but we never feel lost or confused. Solo is a relatively young taxi driver from Senegal. He has an old, white man as his customer. The old man, named William, gives Solo a 100 dollar deposit and tells him he will pay him handsomely if he would drive him to the top of a mountain in Blowing Rock National Park in 10 days. Blowing Rock is a place filled with weather, and Solo is confused by Williams' proposition. William does not mention a return trip, and Solo jokingly asks if he wants to jump off the top of the mountain. William does not answer back. Solo is worried about William and persuades his co-worker at the cab lot to give him all of Williams' taxi requests. So begins an unlikely relationship between two men with vastly different cultures, situations, personalities, and backgrounds. And although this suicide dilemma is the dark cloud overshadowing the two leads, it never once spirals out of control into a sappy cliched Hollywood production. It all feels real.

"Goodbye Solo" may start with a serious minded conversation, but this does not stop Bahrani from adding natural humor. Solo and William begin to see each other more, and the clash of personalities make for great cinema. Solo is a man who sees the world as one large, opportunistic land. He seems to make friends with everyone. From a stranger at a local motel, to a drug dealer who almost turns Solo and William into bullet filled corpses, Solo never stops being unpredictable. He is a man filled with life and joy, but beneath the surface lies a person with many issues. He is struggling with the finances for his family. He has a wife who has a daughter of her own, Alex. His wife fights with him when Solo brings William over to stay the night. Solo is studying to be a flight attendant and he moves in with William, at a motel, to find time to study. I think it is appropriate to classify this American dream as one that has not taken off quite yet, just gassed up and looking for a pilot.

William, played by Red West, is quite the opposite from Solo. He does not say much. He sort of grunts and gives a mean stare that will even make Hannibal Lector shake in his boots. He obviously needs some sort of help. His American dream has crashed and burned. He claimed to have a life 30 years ago. Now he is seen just going to the local cinema and sleeping at motels. But Solo never seems to give up on William, despite the latter's somber outlook on life. There are moments where you think the two have struck a chord. They play pool together and drink at the bar. William even takes a liking to Solo's step daughter Alex. But there are other moments, most moments, where you see very little progress. Here is where Bahrani continues to triumph. He takes characters, much like his fellow North Carolina native David Gordon Green, and makes them so strong, true, and compelling that plot turns into something of an after thought. It is a mysterious and thought-provoking experience.

The film's third half is different from what preceded it, but never feels uneven or rushed. Solo begins to search and navigate through William's things. Trying to find why this man wants to do this to himself. He discovers an item in his jacket that may unlock the mystery. I've seen countless films that take this sort of story and drive it down cliche lane. Person opens up to him, they all live happily ever after. Bahrani is too smart for those type of stories. This reminded me of the another indie gem titled "Half Nelson." The latter has a scene revolving around Ryan Gosling's character and his confrontation with a drug dealer. It could have gone the wrong way but it never betrays what it is trying to accomplish.

The setting here is Winston-Salem, N.C. Just like Bahrani was able to do in "Chop Shop," "Goodbye Solo" displays a wonderful sense of neighborhood. The director was born in Winston-Salem, and this probably helped. Motels, bars, a move theater, other cab drivers, etc. This perfectly captured town gives the film a rhythm that further enhances the authenticity of Solo's everyday life, and a lack there of with the lonely William. Moreover, the two performances from Souleymane Sy Savane and Red West can not go without being mentioned. Souleymane Sy Savane is rightfully charismatic most of the time, but can also dial down his character in more depressing segments, mostly dealing with his family life and the troubled William. Red West has been around for ages, and his performance here is terrific. Although the script is heavily doused in Solo's voice, West gives a hell of a physical performance to maintain balance. To my interpretation, not one character overpowers or overshadows the other.

The looming dark cloud, the films subject, is never discussed in a literal sense outside of the first scene in the taxi cab. Bahrani was smart in doing this. Dodging cliche and tradition, "Goodbye Solo" is a drama that looks carefully and intelligently at relationships in terms of the American dream. The metaphor in Solo's attempt to become a flight attendant is quite obvious, and the last 15 minutes of this character piece will leave many stunned and exhausted. There is a scene that takes place towards the end where both characters just plainly look at each other. It is probably one of the most emotional moments you'll get all year. Bahrani's third effort is a triumph on all levels in the independent film world. I'm still thinking about it now.