It’s better than you might think, but “The Soloist,” lacks focus and winds up begging its stars for a bailout.

Adapted from the true experiences found in LA Times columnist, Steve Lopez’s book, “The Soloist: A Lost Dream, an Unlikely Friendship, and the Redemptive Power of Music,” this Joe Wright (“Pride and Prejudice,” “Atonement”) directed film is a technically superb, well-crafted look at friendship, schizophrenia, redemption, and music.  Or is it?  Well, yes, it is technically superb, and generally well-crafted, but it isn’t a particularly illuminating look at any of the nouns mentioned above.

There’s a fine line separating Lopez’s friendship and exploitation of the homeless musical genius, Nathaniel Ayers, which the film never fleshes out.  Jamie Foxx’s performance is absolutely brilliant, but the debilitating mental illness Ayers suffers from is never given its due.  These sacrifices would be understandable if the filmmakers decided to focus on one or the other, but the film can’t decide exactly what to focus on leaving us with a mildly disjointed story that feels unfinished.

Robert Downey Jr.’s portrayal of Lopez is complex, realistic, sincere, and a joy to watch.  His and Foxx’s performances are worth the price of admission alone, but the problems with the narrative structure, message, and certain artistic choices are many.  Wright has proven his considerable skill as a director, particularly in “Atonement,” but can never seem get out of his own way in “The Soloist.”

The most glaring example of Wright’s refusal to stay behind the camera comes during a scene in which Lopez brings a donated cello to Ayers.  He begins to play.  The most magical of sounds emerge from the fingers–the soul of this broken man who was once the prize of Juilliard.  And then, in mere moments everything that was so carefully detailed up to that point is gone–swept away in a cheesy, grossly unnecessary and pedestrian choice to show a pair of beautiful birds whimsically flying about a much more family friendly, pollution-free version of Los Angeles, and Ayers’ cello is all but drowned out by an orchestra that’s meant to somehow make the moment more touching.

What is Lopez thinking during this experience?  Does he sit down?  Close his eyes?  What does his body language say?  We don’t know because Wright, and screenwriter Susannah Grant clearly don’t care.  There is absolutely no need for the camera to leave our characters in this situation.  And by doing so the filmmakers reveal their indifference to the material.

I’m still convinced that Wright is a talented director.  He just may have been the wrong man for this project.

The good news is that Foxx and Downey, two of the most gifted actors working today, are so good that they manage to lift the film, not quite to their level, but much higher than it otherwise would have been in their absence.  Both come away unscathed and even manage to make a floundering film relatively enjoyable.

(3 out of 5 stars)

Watch CBS Videos Online