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By Ray Pride Pride@moviecitynews.com

DVD of the week: Goodbye Solo (*** 1/2)

On the superficial level of plotting, Raman Bahrani’s Goodbye Solo (Lionsgate, $28) sounds like the setup for a student film or a revisit of “Collateral”: in Winston-Salem, North Carolina, a Senegalese cabdriver named Solo (Souléymane Sy Savané), working hard to make money for his family to subsist, picks up a fare, William (Red West), a rough 70-year-old white Southern loner. William proposes a ride to the nearby mountaintop of Blowing Rock in two weeks, where he intends to leap to his death. But Bahrani, as he’s proven in Man Push Cart and Chop Shop, goes beyond cliché, working with and against archetype, showing a genuine drive to understand behavior in its intimate and momentary particulars. Solo befriends William, taking 965567_goodbye-solo.jpghim on taxi rides, hanging out in bars, checking out women. Bahrani’s written that “ultimately Solo must find the courage and strength to love his new friend selflessly in order to help him do something seemingly horrible, or leave him to face it alone.” There is so much about friendship and loneliness and hope and despair in Goodbye Solo, from the very opening when the deal is proposed. The drama that develops between William and Solo—between West and Savané—is nothing short of astonishing. Bahrani observes these two men’s faces and suggests worlds—two small ones, two modest lives, filled with blood and heart and simply alive. It’s a thrill to see performances this accomplished and a film, shot by Michael Simmonds in fine, rough form that lives up to their work and the characters. Bahrani’s sense of both city and mountaintop is also uncommonly expert. With director’s commentary. [DVD trailer below.]


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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon