Joe - Rache für Amerika

Caution-possible spoilers ahead….. Just watched 'Joe' for the second time. The first time was 30+ years ago on an Air Force Base. I was reminded of that by the Air Force overcoat with Tech. Sgt. stripes wore by the boyfriend/dealer; we airmen had quite a laugh the first time that appeared on the screen because that is a 'lifer' rank. Over the years I have carried several other images from the film. Foremost was the absolutely beautiful and vulnerable daughter of the executive. As someone else commented, you could not take you eyes off her. I did not realize until now that this was a 20-year old Susan Sarandon in her first movie. What a loss that she did not do more movies when she looked like that. I also recall the irony of having a counterculture hero like Peter Boyle playing the title role of a right-wing gun nut. Not unlike George C. Scott playing generals in Dr. Strangelove and Patton. And of course the shocking ending made a lasting impression.

30+ years ago it was the most talked about movie that ever played on the base. We thought it was a great film then and I have been reluctant to see it again because I was afraid that it would be as disappointingly dated as Easy Rider. But watching it today I was amazed at how well the film has held up. It is a very strong script with few holes although you have to wonder about the boyfriend immediately getting out of the bathtub when Sarandon gets in with him.

Searching for an explanation of why this film is still so entertaining I have to think it has something to do with the perfect physical casting. Boyle was physically believable as Joe (as others have pointed out his portrayal would inspire the Archie Bunker character a few 'years later). Did Ted Knight model his 'Caddyshack' character-Judge Smails after the Dennis Patrick's advertising executive in 'Joe'? They look alike and sound alike. Patrick was totally believable as the wrapped-too-tight upper middle class executive. And Sarandon's doe-eyed innocent with the Raggety Ann doll still evokes a protective response from all male viewers-perfect casting.

The nude and drug scenes actually hold up (they were very provocative for their day) and are as explicit as anything to be found in 'Thirteen'. About the only thing that dates this film is that the violence is not realistic or graphic. 'Joe' was about the same time as 'The Wild Bunch', and the tone of movie violence had a just begun to change.

Another reason this film holds up is that events in the past couple of years have brought back the relevancy of the theme and context of this film. In the film both types of 'conservatives' are portrayed as full of fear and hate toward the unconventional ways of the counterculture; and filled with envy at their free and hedonistic lifestyle. The counterculture is portrayed as mocking the straight culture; and although paranoid toward conservatives (legitimately so given that this was just a couple months after Kent State) they cannot resist flaunting their lifestyle in an attempt to antagonize. The political landscape is not all that different 30+ years later. I'm not sure conservatives envy young people and liberals as much as 1970, but they fear and hate them more.

An excellent film that surprisingly is as relevant now as it was in the early 1970's.

... "Joe" captures the spirit, fears, angers, and prejudices of the time as perhaps no other film does. Joe Curran, as played by Peter Boyle, is a super-malevolent Archie Bunker to the n-th degree. He makes the Carroll O'Connor - Norman Lear TV character seem as lovable and cuddly as Tickle Me Elmo by comparison. In contrast to Bunker, Joe Curran most definitely would burn a cross on your front lawn, instead of just toasting a marshmallow on one he found already burning there, to borrow the words of young Lionel Jefferson, spoken to Sammy Davis Jr. about Archie Bunker. Released hard on the heels of the Kent State University "massacre", and the CSNY track "Ohio", and the Isley Bros. medley of "Ohio" and Jimi Hendrix's "Machine Gun", it's as hard-hitting as the probably by now mostly forgotten fall 1968 CBS TV play, "The People Next Door". Bill Compton's ironic comment about the vacuity of much upper-echelon white-collar work, "All we do is sit around all day making little paper airplanes and sail them up people's asses !" is as relevant today as it was then. Equally memorable is the retort of the hippie girl Joe has just had sex with, "How could I lie to you ? You just balled me !" Free love as a hippie litmus of truth ? The film is as much a part, and sign of, its times, as Altamont, "Gimme Shelter", "Putney Swope", and "M.A.S.H." and "Patton" playing on the same bill in many theaters in 1971. Joe Curran's "42 % of all liberals are queer !" is a worthy companion prejudice to Archie Bunker's "England is a fag country !"

It's about a square ad executive (Dennis Patrick) who kills the drug dealer boyfriend of his junkie daughter (Susan Sarandon, her film debut). He strikes up a friendship with a bigoted factory worker (Peter Boyle) and the two decide to infiltrate the hippie world of lower East Side of New York.

This is a gritty, sometimes funny look at hippie and drug culture. Peter Boyle is excellent as the loudmouth working stiff, being both funny and scary at the same time. The music is good too, an excellent song sung by Jerry Butler is played over the credits and there is a hilarious country tune dedicated to the Joe character. The film is not for everyone, if you are offended by foul language, racial slurs, nudity, drugs or violence, you should stay away. In fact, you should probably stay way from the 1970s if you are so offended.

This was the first movie I viewed, just by chance, after my discharge from active duty in the Army in 1970. Forty-two years later, remembering nothing of the plot, only that I left the theater very emotional (rare for me), I found a DVD copy at a local library.

I now realize why I have since not been able to regard Peter Boyle as anything but a frightening character, even in his comic role on the TV series "Everybody Loves Raymond." To be fair, his 1976 role in "Taxi Driver" didn't help, but his face, as seen in "Joe", is still the stuff of nightmares for me.

That said, I learned that it was the now long-forgotten hostility between sectors of our society, so brutally represented in the film, created by the debacle in Vietnam that affected me so deeply in 1970. Today, even to one who was there, the experience of living in an America so torn, so close to open rebellion, is hard to conceive - even harder to explain. But fresh off the plane, still somewhat glum from the cold stares at the airport caused by my uniform, this film hit me like a hammer. And guessing from the huge profit it made, it did the same to many.

It shocked me that I hadn't remembered Susan Sarandon was in this film - she has been one of my favorites - and, as a bonus, the then 24 year-old Ms. Sarandon appears nude. How could I have possibly forgotten that?

In this truly unique and penetrating movie that both personifies a culture clash and its inherent differences,the viewer gets a first hand look at the late 60's,early 70's and what they stood for.A drastic change in the way people dressed,wore hair,talked and thought.A mindset of differing views amongst the populace.The establishment vs. the Hippies.For within this movie are more than just characterizations,but more specifically,an outlook on life,war,habits,religion and peace. The main focal point and protagonist {JOE} is an unworldy blue collar stiff,who's fierce loyalty to flag and country is aptly on display in his basement,being a showcase of sorts for his gun collection,war memorabilia and medals.Living in a simple neighborhood with clone together housing and working in a factory,his life is relagated to wife's ordinary meatloaf with plenty of ketchup,beer at local bar and more beer at home and in basement ,of course.A rather humdrum existance,except for his views on many a topic of late - war,peace and them Hippies.And of course the blacks.Couldn't be a good bigot without mentioning and uttering the N word as vociferously and with such ease of authority as our rude and crude lead character.Yet,for all his apparent character flaws,I was drawn too.He was the genuine article and real character of sorts. Enter the Hippie element in the form of Susan Sarrandon and very authentic-looking Hippie boyfriend and their pad.Living in the village and surrounded by all kinds of Hippieish stuff like candles,tie-dye sheets and of course plenty of hippie clothes and long hair.Their a couple of drug-induced pushers{heroine habit} who look and act the part with authority.Slacking their way thru society and on the nerves of upper class white-collar father Dennis Patrick,who finds comfort and kindship with JOE as the two battle them Hippies,as Sarandon flees the scene to escape her strong-willed and establishment father.So Joe and father have a twofold mission;to find his daughter,and kick a little Hippie butt ,while on trail. The village hunt is exciting and takes me back to my early hippie days,hanging around those hippie places{every big city had a village of sorts}.which were nicely photographed.The movie has a certain air of conscienceness and feel for the early peace movement and its supporters and detractors.As the viewer becomes more and more acquainted with Joe and new buddy {white-collar Patrick},we witness a tour of mind and manners,both alcohol and drug fueled for culture clash and intensified search on meaning and lifestyle of the times.Absolutely,one of the best movies to show disparate view on the subject of clashing generations With an unorthodox ending and stark realization of denouement,this is a truly unique and compelling tale of society as it was unravelling before a generations eyes. 5 out of 5 star or 10/10 for brilliant story of mores and manners ,circa late 60's.Dig Daddio