0 ‘The Soloist’ -- A Diagnostic Film Critique

Through a tribune newspaper website Los Angeles Times, in June of 2011 or approximately two years after the movie was released, Steve Lopez who is himself a certified Los Angeles Times reporter for real wrote “A love of music brings Nathaniel Ayers out to the Foshay Learning Center to perform with kindred spirits.” On the same page may be viewed pictures that reveal the true Nathaniel Anthony Ayers in a 3-D flesh holding and playing a violin similar to the portrayal of his character in “The Soloist”.
In its core the motion picture commits pronounced vitality upon the psychological conflict of Nathaniel Anthony Ayers (Jamie Foxx) through his encounter with an equally culminating emotional distraction set for an unfulfilled L.A. Times columnist, Steve Lopez (Robert Downey Jr.). The latter’s attempt to reach out to the homeless genius as Steve tries to explore on a more interesting subject in his field, attests to the first indication of Nathaniel’s detachment. As the writer’s own troubled state finds coping within the bounds of reality, Ayers’ has long escaped from it, being more disposed to unconventional living where he is caught between schizophrenia and the will which Lopez desperately helps him with for the revival of his exceptional talent and passion for music.

The story identifies the premise in the musician’s yielding to profess virtuosity at the time the effect, unconsciously leads him beyond norm. Accordingly thus, his schizophrenic behavior necessarily reflects significant disturbance in the manner he wanders about with his instrument and in an odious external, deed and talking which no real person with common logic seeks to afford. Initialized on the source of disturbance as rather intrinsic and self-sufficient in its effect, the film does not occur to point to external factors other than the artist's main influence, one that naturally creates its own path of annoyance to resonate and shaken his sanity between solid appreciation (harmony) and dissonance. The inability to handle his gift and give vent to impertinent feelings altogether leads to a chain of reactions from the creation of distorted perceptions bridging him to gradual loss of focus on playing his instrument, further resulting into decline of self-confidence to later bear foul impact on minor performances then apprehension for his career at large.

A mentally disordered individual in Nathaniel’s case, may be found to exhibit symptoms such as delusions, hallucinations, disorganized speech, and grossly disorganized behavior (DSM Criteria). The film gives evidence to the fourth sign showing Ayers to have a rather crudely embellished outfit, that strikes an abiding impression as both bizarre and beaten up like his wagon of improvised percussions awkwardly set up. Characterized by unwieldy facial gestures, some repressed desire manifests through his overall countenance. Visual hallucinations have had recurrences in his childhood, the varying instances of which have one element in common.

At the early stage of his deepening struggle, Nathaniel sees a rolling cart of fire by the window when he was by himself playing cello one evening.  Likewise, when Steve sends him over to watch a classical concerto, he perceives flashes of colorful lights in the middle of raptures, having transported the symphonies to his full attention, earning remembrance of his fondness for Beethoven. The time he gets the chance to perform with a live audience however, just when he’s about to hit the bow on string, a brilliant light passing the slits of the upper deck collides his eyes. It comes too bright to blind a sight away from the rest that subsequently makes him recollect an act of rudeness toward his sister, a scene at daybreak when an equivalent intensity of light pours in, as if to vividly call upon such an excruciating memory. Consequently, he exits the stage under savage disgrace. 

Lack of organization and coherence in speech becomes prominent as his constant interaction with Steve progresses. He appears to have an uncontrollable impulse to speak a lot about himself or of random beliefs on god among which he’s incapable of giving appropriate distinction that he ends up mumbling back and forth. Not only a few times has Steve been turned down with grave disappointments on painstakingly teaching Nathaniel to get into the smooth side of things and deflect his unpleasant tendencies unto state of soundness. Nevertheless, he has still kept hoping up on each new moment to see him finally lessen his delusions and be able to rationally compare and contrast. His behavior even registers deficient self-esteem and insecurity as depicted by most of his reactions. At one instant, he asks Steve to pardon his appearance caused by major setbacks in the past as they move around Beethoven’s monument in Steve’s pursuit of getting acquainted with a prospect for a stimulating article in his column to help redeem good market for L.A. Times. Another circumstance has almost led Nathaniel to real time danger as he cares less for his life than an obsessive compulsion to pick up a cigar butt along a busy runway, just so he’d find security at the thought of Steve, becoming pleased with that act.  Being conscientiously bothered obeying the law seems far-fetched and that he wouldn’t understand Steve the way the latter aligns him with proper reasoning.

The incident Nathaniel nearly strangles him to death proceeding from an argument after a discourse on psychiatric medication would sufficiently have the former’s condition fall out of the defined areas of sanity. To this point, he barely understands the direction headed for by the promising design which Steve takes into action to revive the spirit of the once was a Julliard scholar.

In case Steve Lopez weren’t his character as portrayed in this film, this would most likely pose larger threats especially to the social aspect of security for N. Ayers. If not properly handled with adequate patience, either he comes in contact to be truly hurtful or that someone else could get him harmed due to dealings with poor conduct emerging from an illogical behavior. Anyway, the story evidently presents that every time the distressed journalist fixes themselves on the spot of trying to work things out, Nathaniel gets more agitated than he is to beyond repair, thereby holding out from any possible alleviation.

Schizophrenia torments Nathaniel Ayers at a level of unmanageable discomposure positive with the aforementioned symptoms as delusions of grandeur and strange beliefs, disturbed visual perceptions and frequently derailed speech and conduct (DSM Criteria). Since he has had tragic stages of acquiring his type of illness without any formal treatment during his youth, the favor of attaining to refinement of skills converges to a myth. It happens to stay there to be his source of anxiety that eventually serves him loss of sane continuity. Having detached himself deliberately thereafter with no single confidant until Steve Lopez comes along and takes his best part to his advantage, Nathaniel totally gives in and is rather overcome by the imaginary monster of his defective functioning.

It may be inferred through this experience that if one is to have artistic goals met by means of a similar path as such where no determination tends to reverse the flow of abnormality, the person snaps at the slightest distraction. Though not much is shown about the specifics of its origin or a triggering factor, psychological disturbance may have spanned out of the tensions between the person’s classical influence and the unlikely environment which develops for him limits to achieving pure concentration. Hence, there’s apparently no way to put him under normal procedures of psychiatric medication while his mental condition this worst cannot ever be expected to cooperate, having been deprived of rationality and it’s exceedingly tough for someone like Steve Lopez to initiate on getting him back to recognize good reasons.

It pays to further an amazement on a lyrical masterpiece which a virtuoso in Nathaniel could enhance not only through mastery of his sound creation but also by engaging his soul in its entire nature if the ‘soloist’ be defined well. I think this is the basis of the columnist’s desperation to restore Ayers. The overwhelming power of his music is more than enough that Lopez stretches the extent of his exploration from chronicling his life and regaining his lost relations as far as buying into an unremitting, sincere friendship with Nathaniel which takes a lot of heart and patience for his recovery.

Diagnostic Impression (Heffner, 2002):

Axis I: Clinical Syndrome(s)

• Disorganized Schizophrenia

Axis II: Developmental and Personality Disorders

• None of deferred  --  Besides the obvious filth in general appearance made by poor hygiene/sanitation, eccentricity on certain aspects reflect through cluster-A personality disorder as (1) paranoid: showing distrust/suspicion of people, which may have ensued from visual hallucinations, leading to angry outburst; (2) schizoid: dullness/indifference as in a social gathering in school with occurrences of  only partly seeing the reality while the other view maintains abstract connections (3) shizotypal: manifestations through improper emotional responses (evident with Lopez at least), with thinking and beliefs conveyed through an obnoxious and uncoordinated outfit and disorganized speech, as an adult (Mayo, 2008). Then by cluster-C type, the person takes on anxious indications as obsessive-compulsive personality disorder symptotic of the inability to discard worthless objects (as suggested by the third paragraph of the main body) (2008).

Axis III: Physical Conditions

• None

Axis IV: Severity of Psychosocial Stressors

• None

With NAAF and Steve’s consistent support and compassion, the soloist has achieved a level on which he’s able to finally adjust to a more favorable sociability (The Nathaniel, 2009). Constantly aware that people (including his two sisters with whom he recently reunited) aren’t giving up on him which implies earnest attention that he becomes able to have flexible terms in addressing his dysfunctional behavior from rigid to smoother patterns. He could function more sensibly given the wider view of the world as he gradually understands the irrationality of his unbalance and come to see the borderline between that and the real dimension fade. In time, any remainder of delusions can be expected to dissolve into proper dispersal as he stays in touch with the right people who’d frequently remind him of his value and purpose like any normal individual.

Prognosis

            According to the known story of N. Ayers, the soloist did not inherit the illness as it only took on manifestation when he had mental breakdown during his third year at the Julliard School of Music in New York city. In the movie, it can be observed that he is well focused on improving his musical talent, so the mental breakdown may be claimed to have originated from a certain anxiety caused by desperate urge to perfection of career but which is often suppressed by insecurity toward social forces once a person becomes depressed on improving himself to meet with a standard or height of expectation set by some environmental stressors. Dopamine receptors might then have registered a larger area for doubts and lowering confidence as Ayers measured and compared his capacity with external abilities outside of his control. 

Treatment Recommendations

            As a disorganized schizophrenic, N. Ayers was reported to have undergone the electroconvulsive or shock therapy with physical restraints and extensive medication with Thorazine. Unfortunately, the specified treatment was found ineffectual and brought about a traumatic experience that he eventually preferred to roam the streets instead, expressing repugnance against the traditional administration of his requisites toward mental health. This being the case at hand, alternative means must be sought whereby a more flexible health care service may apply rather than the seemingly rigid institutionalized setting.

            Since Ayers has established depths of connection with his music and has equivalently chosen freedom from confinement, the new approach to his cure should then be customized accordingly. It might be conducive for him to be designated to an environment or community of patients who struggle with the similar illness and particular musical inclination at the same time. This way, Ayers would have the opportunity to be facilitated with a form of treatment based on observational learning and operant conditioning in which he can modify his thought and behavior with respect to regular observation of events and consequences as drawn from the exposure to the rest of musically disposed schizophrenic. In the course of dealing with the latter via minor intervention of health provider, there may be possibility for Ayers to develop a critical attitude and thinking which could further guide him to a realization of distinguishing one behavior from another and which among the behavioral patterns perceived are favorably organized. Then as a probable consequence, Ayers may find a great deal of interest in mental and emotional organization as well as self-esteem.

            Considerations to proceed with antipsychotic aspect of treatment may be accounted for to contribute a potential aid toward homeostasis, however, Ayers’ progress with drug ought to be monitored stringently from which to assess perhaps the compatibility of the antipsychotic therapy with the current atmosphere of influence and also any established immunity with the drug previously taken. Because the story of Ayers depicts a schizophrenia which is a more socio-environmental in nature, chief portion of his treatment should allow him space of freedom to associate with patients of his kind in order that he would be directed to understand his situation exactly with growing sense of acknowledgment for the clinical procedures employed during the stages of his cure from disorganized schizophrenia.