Solo
Delve into the world of crime in Sydney – corrupt, crooked and disturbingly realistic. Meet Jack Barrett (Colin Friels), the protagonist, introduced in the opening scene as he carves up a cadaver, so expertly. He then drops it, piece by piece into the sea, finally vomiting. The job is done.
Jack has been entrenched in crime since his return from the Vietnam war, some 30 years ago. He has been trapped since his first murder for “The Gentleman.” He has decided it’s time to make a clean break, disentangle himself from the web of crime he exists in, and perhaps even start afresh on the South Coast, by becoming a fisherman. He even has the guts to tell his partners – including crooked cops (Vince Colosimo) - in crime that he is getting out. But Reno, his boss, won’t have a bar of it. Not without a final job - for Morgan to finish off a young university student (Bojana Novakovic) who is asking Reno too many questions, and will stop at nothing to uncover the truth of the mystery surrounding her mother’s murder some 20 years ago, and perhaps pick up a university medal along the way. The suspence culminates in a bloody conclusion, leaving viewers wondering who will get out alive, whether Jack deserves their sympathy, and who could possibly take his place within “the gentleman”.
This is Morgan O’Neill’s writing and directorial debut, after finally realizing a childhood dream to become a filmmaker. SOLO has proven a successful entry point for this talented filmmaker to enter the industry. SOLO was possible because O’Neill won the first Project Greenlight Australia award, giving him a $1 million budget to make the film, so generously packed with a high calibre cast.
SOLO is worth the 90 minute commitment, allowing you to delve into a world otherwise foreign and yet eerily parallel to our everday lives. O’Neill has finally entered the world of film, and definitely stands solo from the rest of the pack.