With Solitary Man, Michael Douglas, much like Mickey Rourke in The Wrestler, reaches the peak of his cinematic maturity. Thats not to say its necessarily his best performance the odds on favourite is still likely his Oscar-winning turn as Gordon Gekko in Wall Street but, as with Darren Aronofksys film, the star wattage isnt just the beating heart of the piece; its the entire soul as well. Over a brisk 90 minutes, the film is inextricably tied up with Douglas persona. Its not hard to see the actor taking a long hard look in the cinematic mirror and pragmatically reviewing himself. So, while the film boasts many strengths, its the baggage Douglas brings to the table that makes it memorable.
He plays businessman Ben Kalmen, whose self-assured life is turned upside down by situations both within and outside of his control. At the start, he receives undisclosed medical information that sees him pop pills for the duration (the actors current battle with cancer unwittingly lends it a chilling edge). Jumping several years ahead, Kalmen has lost his car dealership through shady, nefarious means; hes on distant terms with much of his family; and he feels an adolescent need to sleep with as many young women as possible, despite the fact that hes milking current girlfriend Jordans (Mary Louise Parker) business connections. It only takes a college visit to Boston with Jordans daughter Allyson (Imogen Poots), however, for events to really spiral out of control. An attempt to live vicariously through student Daniel (Jesse Eisenberg) also proves disastrous in the long run.
Whats satisfying is that after two Oscars and more than 30 years in the business, in addition to being a sturdy screen presence Douglas is a brilliantly collaborative one too. Lest we forget that as a producer on One Flew Over the Cuckoos Nest, he was able to foster an eerily plausible and authentic recreation of a psychiatric hospital on-screen. Here, in what is essentially a chamber piece, he resists showboating entirely, projecting a defeated, dejected shell of a man who is essentially fodder for the mud slung at him.
Yet never once does it feel smug or complacent; merely honest, in a down-home, theatrical kind of way, with many scenes consisting of one-on-one conversation in rooms (producer Steven Soderberghs influence is very much apparent). Douglas is terrific in projecting an unapologetically ambivalent persona that seems to cut uncomfortably close to home. He must also be credited for opening himself up to excellent, bitter turns from the likes of Poots, Parker and The American Offices Jenna Fischer as Kalmens long-suffering daughter Susan.
From his rumoured sex addiction in the early 90s to his strained relationship with legendary father Kirk, Douglas troubled history inflects every movement and nuance of the Kalmen character. Yet, amid the bleakness, its lovely to see a glimmer of hope in the form of another on-screen friendship between Douglas and Danny DeVito, the latter as one of Kalmens oldest friends. In spite of the pessimism, its wonderful to be reminded that some cinematic relationships are clearly for the ages.
Ultimately though, where the film really resonates is in the gripping nuances inherent in its central character: the chance of redemption spurned by foolish mistakes; the self-destructiveness of the mid-life crisis; and the brave final decision never to round off any complexities in trite, glib fashion. While we may never hope to fully understand the real man himself beyond gratuitous tabloid speculation on the booze, women and familial relations, the film resounds with such a sense of melancholy realism, its not hard to see Douglas is essentially talking about himself. Flaws and all, hes truly one of a kind. A real solitary man.
Overall Verdict: The culmination of a full and active life, one that has been rife with achievements and crises, Solitary Mans fusion of star and character lifts it out of stagey art-house fare into startlingly self-reflexive drama.
Reviewer: Sean Wilson