Goodbye Solo asks far more questions than it answers, yet there’s something in the tender humanity of the journey that seems to matter much more.
Goodbye Solo (2009)
Tomatometer
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Reviews Counted:88
Fresh:83
Rotten:5
Average Rating:7.8/10
Consensus: An original and thoughtful human drama, Goodbye Solo looks at relationships and loneliness while proving director Ramin Bahrani's is an important American voice.
Theatrical Release:Mar 27, 2009 Limited
Box Office: $809,220
Synopsis: For the follow-up to his critically lauded social-realist dramas MAN PUSH CART and CHOP SHOP, director Ramin Bahrani leaves New York City behind and returns to his home town of Winston-Salem, North... For the follow-up to his critically lauded social-realist dramas MAN PUSH CART and CHOP SHOP, director Ramin Bahrani leaves New York City behind and returns to his home town of Winston-Salem, North Carolina. Though the scenery has changed, Bahrani’s tender, humane vision remains. As with those previous films, Bahrani focuses his story on a cultural outsider, the type of person who usually gets relegated to a movie's background. Solo (Souleymane Sy Savane) is a Senegalese taxi driver whose latest fare, a weathered and despondent old Southerner named William (Red West), offers him big money to drive to a mountain peak, where it appears that William is going to commit suicide. A good-natured and kind-spirited man, Solo is disturbed by this revelation. Out of a deep sense of purpose, he embarks on a mission to save William. Working with his main creative collaborator, cinematographer Michael Simmonds, Bahrani casts a luminous spell over his deceptively simple tale. The director, who also edits his films, keeps the story moving forward while allowing it to breathe. He also extracts flawless, fully lived-in performances from Savane and West. Though Bahrani’s previous films have been deservedly praised, he has vaulted himself into the top ranks of American indie directors with GOODBYE SOLO. This masterfully realized story of life and death is destined to stand as one of 2009’s best. [More]
Starring: Souléymane Sy Savané, Red West, Diana Franco Galindo, Carmen Leyva
Starring: Souléymane Sy Savané, Red West, Diana Franco Galindo, Carmen Leyva, Lane "Roc" Williams, Mamadou Lam
Director: Ramin Bahrani
Director: Ramin Bahrani
Screenwriter: Bahareh Azimi, Ramin Bahrani
Producer: Jason Orans, Ramin Bahrani
Studio: Roadside Attractions
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Reviews for Goodbye Solo
Working to a spare screenplay, Bahrani offers none of the usual clues about either the cabbie’s surprising determination to prevent the tragedy or the old man’s reasons for suicide. This doesn’t always help the quiet drama.
An endearing character piece shot through with beauty and humility in which, thanks to his leads’ open, sometimes vulnerable performances, tolerance and respect take precedence.
The strange power of those final moments - at once tender, tragic and triumphant - grant this unassuming drama about saying goodbye to Solo the status of a minor masterpiece played in an appropriately minor key.
You get the sense that writer-director Ramin Bahrani is mystified by America’s abandonment of its elderly, and there’s a whiff of disapproval in his treatment of this theme, but it’s only a whiff.
An instantly gripping, funny, quietly persuasive drama that held me from the first frames.
If cinematic form follows cinematic function then Goodbye Solo is a perfect Mercedes of a movie. It is comprised of a quietly purring but powerful narrative engine.
The raptures that greeted Ramin Bahrani’s Goodbye Solo at festivals last year are wholly deserved.
It's touching in its way, though Bahrani's writing is not nearly as strong as his visual sense, and the denouement is perhaps too understated for its own good.
Thanks to its engaging leads, colorful Southern setting and poignant story, Goodbye Solo is uplifting despite its solemn subject.
While Bahrani once again shines a light on a fascinating corner of the American experience, he does so while telling a disappointingly contrived story.
He's the best American filmmaker working today whom you've never heard of: Ramin Bahrani has the exquisite talent of making the ordinary and the mundane soar into realms of rarefied and unexpectedly moving drama.
Behind the noble intentions and cluttered rooms and grimy windshields, however, lies a salt-and-pepper portrait with almost as many undercooked contrivances.
Fine performances all around act like vital organs within the body of Bahrani's resonant chamber piece.
It's an American film that looks like an arty European film, and I mean that as a sincere compliment.
Bahrani's his experimental (and, some might argue, pretentious) dramas can wander off course in search of honest emotion, often to the detriment of his story.
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