Paradoxically, Solo's urge to know all the people around him spurs him to home in on William. Yet the movie acquires poignancy and pull because Solo's quest turns into a journey of self-knowledge. He begins to appreciate William's integrity as well as his wariness; he lacks these qualities himself. Bahrani conjures moving portraiture with these two men, who gain in understanding - if not the usual Tinseltown brotherhood or affection. Together they shape performances that are beyond reproach.
Red West's features aren't "weathered" in any mellow way. Nothing about him is worn smooth. His edges are rough, his furrows entrenched. But his emotional sureness and honesty are indelible: His range may be narrow, but he's deep. And Savane pulls off the feat of portraying a cheerful man becoming serious. His performance keeps stretching downward, to match William's depth - and then, in the breathtaking poetic climax, soars up. Goodbye Solo is a two-hander, but few "bigger" films leave you feeling at once so low and so high.
