list http://www.spout.com/ Recent community activity around Goodbye Solo on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/Goodbye_Solo/388310/default.aspx Title: Goodbye Solo
Year: 2009
Director: Ramin Bahrani
Plot: GOODBYE SOLO tells the story of Solo, a kindhearted and friendly 34-year-old Senegalese taxi driver in North Carolina, who is hired by William, a tough 70-year-old white southerner, to drive him in two weeks time to a mountaintop from which William plans to jump to his death. But Solo decides to charm his way into William's life by becoming his driver, and this odd couple begin an unexpected friendship as Solo hopes to change the old man's mind before the two weeks are up.
Times Tagged: 9
Number of Lists: 4
Number of blog posts: 2
SpoutRating: 4
]]>Tue, 07 Jul 2009 03:52:12 GMTGoodbye Solo2009Ramin BahraniGOODBYE SOLO tells the story of Solo, a kindhearted and friendly 34-year-old Senegalese taxi driver in North Carolina, who is hired by William, a tough 70-year-old white southerner, to drive him in two weeks time to a mountaintop from which William plans to jump to his death. But Solo decides to charm his way into William's life by becoming his driver, and this odd couple begin an unexpected friendship as Solo hopes to change the old man's mind before the two weeks are up.9Taggedy Taggged (6-10)424http://www.spout.com/ProductImages/s388310.jpghttp://www.spout.com/films/Goodbye_Solo/388310/default.aspxFilm http://www.spout.com/blogs/kevynknox/archive/2009/7/6/42935.aspx Post By: KevynKnox
Post To: KevynKnox Blog
Post Date: 7/6/2009 11:52:12 PM
Body: (this review was first published at www.thecinematheque.com) With obvious influential stylings from both the neorealist movement of post WWII Italy and the French Nouvelle Vague of the late fifties and early sixties, as well as director Ramin Bahrani's own ethnically-backgrounded national cinematic scene (though the US-born Irani-American Bahrani denies any influence whatsoever from his ancestral Persia) Goodbye Solo is a powerfully original and uniquely unpretentious American independent film from a filmmaker who is quickly becoming one of the best American directors in cinema today. Along with his first two features, Man Push Cart and Chop Shop, Bahrani has stumbled his way into the much-argued-about quasi-film-movement known in some circles as neo-neorealism. Much like Hollywood at the start of the Great Depression, with its socially conscientious storytelling and prophetic soap-boxing, today's American independent cinema, in its own financial straights, has begun a movement that attempts to tell the tales of those on or below the accepted poverty line. This movement of sorts also includes filmmakers like Kelly Reichardt (Old Joy & Wendy and Lucy), So Yong Kim (Treeless Mountain), Lance Hammer (Ballast) and even perhaps Vincent Gallo (Brown Bunny), though that last one may be a stretch if I am to understand this so-called neo-neorealism at all. Whether this is a conscious effort on the filmmakers part or mere coincidence due merely to the economic woes hitting just about everyone is still up for debate. Sometimes much heated debate (mostly started by the NYTimes' A.O. Scott in his opening essay about neo-neorealism). I personally think it mere coincidence, but coincidence predicated on the idea of mob mentality. Yes, that comment was meant to be quite tongue-in-cheek. Anyway, the early depression years also had a spate of fun loving escapist filmmaking from Astaire & Rogers to the Marx Brothers. Yet, real or imagined, nature or nurture, neo-neorealism, or whatever one wishes to call it, seems to be here to stay. But then, we are not here to talk of movements and film waves, but instead about one particular film - Goodbye Solo. Bahrani's story abruptly begins mid-sentence in the cab of our titular protagonist played with a melancholy glee by Senegalese non-actor Souleymane Sy Savane. Solo is being paid to drive his passenger William, a begrizzled older man played by longtime character actor Red West, to a mountaintop where Solo is to return home alone. It is obvious, to us, to Solo, that William is planning on dying on said mountaintop. The brunt of Bahrani's film is Solo trying to figure out why. It is also about the eventual shaky friendship forged between the overly optimistic Solo and the angry, tired William. Beyond any ideas of class genre film movement, Bahrani's film rests on the emotional punch it delivers again and again and again throughout what is surely the filmmaker's best work yet.
]]>Tue, 07 Jul 2009 03:52:12 GMTKevynKnoxKevynKnox Blog7/6/2009 11:52:12 PM(this review was first published at www.thecinematheque.com) With obvious influential stylings from both the neorealist movement of post WWII Italy and the French Nouvelle Vague of the late fifties and early sixties, as well as director Ramin Bahrani's own ethnically-backgrounded national cinematic scene (though the US-born Irani-American Bahrani denies any influence whatsoever from his ancestral Persia) Goodbye Solo is a powerfully original and uniquely unpretentious American independent film from a filmmaker who is quickly becoming one of the best American directors in cinema today. Along with his first two features, Man Push Cart and Chop Shop, Bahrani has stumbled his way into the much-argued-about quasi-film-movement known in some circles as neo-neorealism. Much like Hollywood at the start of the Great Depression, with its socially conscientious storytelling and prophetic soap-boxing, today's American independent cinema, in its own financial straights, has begun a movement that attempts to tell the tales of those on or below the accepted poverty line. This movement of sorts also includes filmmakers like Kelly Reichardt (Old Joy & Wendy and Lucy), So Yong Kim (Treeless Mountain), Lance Hammer (Ballast) and even perhaps Vincent Gallo (Brown Bunny), though that last one may be a stretch if I am to understand this so-called neo-neorealism at all. Whether this is a conscious effort on the filmmakers part or mere coincidence due merely to the economic woes hitting just about everyone is still up for debate. Sometimes much heated debate (mostly started by the NYTimes' A.O. Scott in his opening essay about neo-neorealism). I personally think it mere coincidence, but coincidence predicated on the idea of mob mentality. Yes, that comment was meant to be quite tongue-in-cheek. Anyway, the early depression years also had a spate of fun loving escapist filmmaking from Astaire & Rogers to the Marx Brothers. Yet, real or imagined, nature or nurture, neo-neorealism, or whatever one wishes to call it, seems to be here to stay. But then, we are not here to talk of movements and film waves, but instead about one particular film - Goodbye Solo. Bahrani's story abruptly begins mid-sentence in the cab of our titular protagonist played with a melancholy glee by Senegalese non-actor Souleymane Sy Savane. Solo is being paid to drive his passenger William, a begrizzled older man played by longtime character actor Red West, to a mountaintop where Solo is to return home alone. It is obvious, to us, to Solo, that William is planning on dying on said mountaintop. The brunt of Bahrani's film is Solo trying to figure out why. It is also about the eventual shaky friendship forged between the overly optimistic Solo and the angry, tired William. Beyond any ideas of class genre film movement, Bahrani's film rests on the emotional punch it delivers again and again and again throughout what is surely the filmmaker's best work yet. http://www.spout.com/blogs/spoutblog/archive/2009/3/20/41144.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 3/20/2009 11:00:59 AM
Body: Looking up at her co-star Souleymane Sy Savane and noting the pain written on his face, child actress Diana Franco Galindo pulled aside Goodbye Solo director Ramin Bahrani to ask why it was that his character at this moment seemed so sad. “I don’t know; why do you think he is so sad?” Bahrani asked. Not having read any of the script beyond her own scenes, Galindo thought for a second on the question. Here, of course, is all the story background that she, in considering the question, knew nothing of: With this latest work, Bahrani studies the world of naturally jovial, curious taxi driver Solo who, in meeting cantankerous, suicidal fare William (Red West), is forced to reconsider the definitions of friendship. Opening with an already quarrelsome scene between the two men, Goodbye, Solo, while quite a comfortable film to engage with, its journey full of levity as Solo studies for an exam to land a job as a flight attendant, leaves no easy way out either for its characters nor its audience. William has full intentions of leaving everything in life behind him, and Solo, despite his growing affection for the man, must learn not only to let him go but also to help him on his way. Knowing this perhaps makes Galindo’s answer to Bahrani in that moment all this much more poignant. “I think because he failed his exam,” she says. “That’s a really good answer. Why don’t you really encourage him to pass it then!” Bahrani told her. ”And she said she would, and thus she really fills Solo with courage and hope in the final scene to pass, and manages to cheer him up and put a smile on his face about the future, right when another man’s future has been cut and Solo is thinking about the past, mortality, fragility and the briefness of life,” Bahrani explains. Although his three feature films Man Push Cart, Chop Shop and Goodbye, Solo all explore issues related to both culture and class, Bahrani would hate to be accused of making multicultural, socially aware films for any manipulative, sentimental purpose. “Those films, I have to confess, bore me. I never wanted my films to be that,” he says. Rather he, working under his Noruz Films outfit, simply aims to share what he found in that moment with Galindo, to uncover truthful emotions and reactions in order to present these in tenderly told stories about everyday experience. To understand these very real emotions and reactions, Bahrani, much as he did on his previous shorts and features, spent six months tagging along with a Senegalese taxi driver in his hometown of Winston-Salem, NC. “[This man] was very charming, warm and friendly. He had a curiosity about the world and about himself. He was constantly trying to improve himself on his own terms. He loved reading. He didn’t always want to be driving taxis; he had other ambitions. He was struggling to attain them, and there were forces that were stopping him. All of those elements seemed to play into this fictional version Goodbye, Solo,” Bahrani says. This six-month research journey also served as a learning experience for the director in another potent manner. It allowed him for the first time to discover the oft unseen people and places of his hometown. “Unlike in New York, where taxis are expensive, in a suburb of Winsten-Salem, it’s actually not the wealthy people who take taxis; it’s usually economically poor people who can’t afford cars, can’t afford the insurance. So most of our clients were working night jobs, managing bars or working cleaning jobs. Those were the people I was encountering, and thus I was encountering where they lived, which interestingly in Winsten-Salem is oftentimes literally on the other side of the train tracks,” he says. “I find myself really fortunate to have a job where I can [learn like] that. That excites me and energizes me to want to work.” Pulling from his observations, Bahrani then met up with co-writer Bahareh Azimi to craft a script carefully balanced between reality and narrative, a process which brought to life characters who Bahrani speaks of as easily as he would friends. “William is incredibly determined to do what he wants regardless of what other people tell him, and that’s something Solo has been struggling with. His wife tells him to stay here as a taxi driver in Winsten-Salem. She tells him, “I love you. Now you should not do those things; you should do these things.” He’s told by friends, “If we’re friends, you should do these things with me even if you don’t want to do them.” He’s told by the dispatcher which way to turn, right or left,” Bahrani explains. “William doesn’t; he doesn’t try to love Solo and control him. I do think that Solo senses that in the relationship and starts learning from it.” Shot by longtime Bahrani collaborator, cinematographer Michael Simmonds, Goodbye, Solo, even more so than the intimate naturalistic portraits of Man Push Cart and Chop Shop, feels framed upon the landscape of the face, character disappointments made immediate by the slightest change in expression. Yet, despite facing great difficulties that are often beyond their ability to control or alleviate, the characters of Bahrani’s films still hold strong to unwavering optimism. “The films are not to romanticize poverty, which some films can do, even with the best of intentions, to the disservice of the location, the situation of the characters and where they stand in the world,” Bahrani points out. “Nevertheless the characters continue to battle anyhow. That is something I’ve noted deeply, and it’s something I’ve wanted to attain more in my own life.” Originally posted on:SpoutBlog
]]>Fri, 20 Mar 2009 15:00:59 GMTSpoutBlogSpoutBlog on spout.com3/20/2009 11:00:59 AM Looking up at her co-star Souleymane Sy Savane and noting the pain written on his face, child actress Diana Franco Galindo pulled aside Goodbye Solo director Ramin Bahrani to ask why it was that his character at this moment seemed so sad. “I don’t know; why do you think he is so sad?” Bahrani asked. Not having read any of the script beyond her own scenes, Galindo thought for a second on the question. Here, of course, is all the story background that she, in considering the question, knew nothing of: With this latest work, Bahrani studies the world of naturally jovial, curious taxi driver Solo who, in meeting cantankerous, suicidal fare William (Red West), is forced to reconsider the definitions of friendship. Opening with an already quarrelsome scene between the two men, Goodbye, Solo, while quite a comfortable film to engage with, its journey full of levity as Solo studies for an exam to land a job as a flight attendant, leaves no easy way out either for its characters nor its audience. William has full intentions of leaving everything in life behind him, and Solo, despite his growing affection for the man, must learn not only to let him go but also to help him on his way. Knowing this perhaps makes Galindo’s answer to Bahrani in that moment all this much more poignant. “I think because he failed his exam,” she says. “That’s a really good answer. Why don’t you really encourage him to pass it then!” Bahrani told her. ”And she said she would, and thus she really fills Solo with courage and hope in the final scene to pass, and manages to cheer him up and put a smile on his face about the future, right when another man’s future has been cut and Solo is thinking about the past, mortality, fragility and the briefness of life,” Bahrani explains. Although his three feature films Man Push Cart, Chop Shop and Goodbye, Solo all explore issues related to both culture and class, Bahrani would hate to be accused of making multicultural, socially aware films for any manipulative, sentimental purpose. “Those films, I have to confess, bore me. I never wanted my films to be that,” he says. Rather he, working under his Noruz Films outfit, simply aims to share what he found in that moment with Galindo, to uncover truthful emotions and reactions in order to present these in tenderly told stories about everyday experience. To understand these very real emotions and reactions, Bahrani, much as he did on his previous shorts and features, spent six months tagging along with a Senegalese taxi driver in his hometown of Winston-Salem, NC. “[This man] was very charming, warm and friendly. He had a curiosity about the world and about himself. He was constantly trying to improve himself on his own terms. He loved reading. He didn’t always want to be driving taxis; he had other ambitions. He was struggling to attain them, and there were forces that were stopping him. All of those elements seemed to play into this fictional version Goodbye, Solo,” Bahrani says. This six-month research journey also served as a learning experience for the director in another potent manner. It allowed him for the first time to discover the oft unseen people and places of his hometown. “Unlike in New York, where taxis are expensive, in a suburb of Winsten-Salem, it’s actually not the wealthy people who take taxis; it’s usually economically poor people who can’t afford cars, can’t afford the insurance. So most of our clients were working night jobs, managing bars or working cleaning jobs. Those were the people I was encountering, and thus I was encountering where they lived, which interestingly in Winsten-Salem is oftentimes literally on the other side of the train tracks,” he says. “I find myself really fortunate to have a job where I can [learn like] that. That excites me and energizes me to want to work.” Pulling from his observations, Bahrani then met up with co-writer Bahareh Azimi to craft a script carefully balanced between reality and narrative, a process which brought to life characters who Bahrani speaks of as easily as he would friends. “William is incredibly determined to do what he wants regardless of what other people tell him, and that’s something Solo has been struggling with. His wife tells him to stay here as a taxi driver in Winsten-Salem. She tells him, “I love you. Now you should not do those things; you should do these things.” He’s told by friends, “If we’re friends, you should do these things with me even if you don’t want to do them.” He’s told by the dispatcher which way to turn, right or left,” Bahrani explains. “William doesn’t; he doesn’t try to love Solo and control him. I do think that Solo senses that in the relationship and starts learning from it.” Shot by longtime Bahrani collaborator, cinematographer Michael Simmonds, Goodbye, Solo, even more so than the intimate naturalistic portraits of Man Push Cart and Chop Shop, feels framed upon the landscape of the face, character disappointments made immediate by the slightest change in expression. Yet, despite facing great difficulties that are often beyond their ability to control or alleviate, the characters of Bahrani’s films still hold strong to unwavering optimism. “The films are not to romanticize poverty, which some films can do, even with the best of intentions, to the disservice of the location, the situation of the characters and where they stand in the world,” Bahrani points out. “Nevertheless the characters continue to battle anyhow. That is something I’ve noted deeply, and it’s something I’ve wanted to attain more in my own life.” Originally posted on:SpoutBlog http://www.spout.com/members/0/tags/family/MemberTagFilms.aspxfamily
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