Among the silent majority, some people choose to talk to themselves, even if only to themselves. Nathaniel Els is such a person. He has a voice in his heart, and his own voice speaks only to himself.
Geniuses are always in their own circles. He played the violin in the underpass, repeating several syllables incessantly. Indulging in repetitive details makes one feel safe, and that safety is a trap that Nasani can't break free. He was seduced by the possibility—becoming a musician like Beethoven—and hesitated, afraid of being fooled, afraid of doing stupid things. At the same time, I am afraid of losing this possibility. Nasani was horrified by the world, and the safest course was to retreat to his inner circle.
The film "The Soloist" is rich in detail. When reporter Steve Lopez talked to Nasani for the first time in the tunnel, he wore a grinning mask he picked up on the back of his head, a metaphor that this genius was torn apart by a double-sided personality, one side being "smart and kind". ”, the other side is ferocious, yet as fragile as a paper mask.
When Lopez wanted to follow this man's story, various media in his work background were reflecting wars, disasters, and the big conflicts in the world, corresponding to the small struggles of people's hearts. Is it really small? But it is a hurdle that he cannot overcome.
If you magnify some things, you will inevitably shrink others and therefore ignore them.
However, the second half of the film seems to drag on. As a rescuer, Lopez once rose to the heights of "God" in Nasani's mind, so high that he was afraid to retreat. To keep Nasani's frantic but free soul, or to "harmonize" him so that he conforms to the normal standards of the public? It made me in front of the screen hesitate to help the reporter comrade. Then he seemed to wander blindly in the worry of "do you dare to help him".
The music is beautiful, and the part where he played the cello in the underground passage really brought tears to my eyes.
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