Joe Gould's Secret

This quiet and gentle movie sneaks up on you and by the end you are left with an appreciation of how little difference there is between the quite disparate lives of the two protagonists. With a few differemt turns, circumstances, and choices an intelligent man can easily become a bohemian. I think it is for this reason that Joseph Mitchell, a staff writer for "The New Yorker" magazine, became drawn to Joe Gould, a somewhat mad homeless man with occasional flashes of unique insight and a flare for histrionics. Gould claims to be writing an "Oral History of the World." Mitchell admits to sympathizing with Gould's statement that he is at home "among the cranks and the misfits and the one-lungers and the has beens and the would-bes and the never wills and the god knows whats." Indeed, how could you not be a little interested in a man who could write that? And Mitchell comes to identify with Gould in another significant way, and that way is in fact Joe Gould's secret.

In the process of writing a profile of Gould for his magazine Mitchell develops a relationship with Gould that results in Gould's ultimately becoming somewhat of a pest. As Gould says, "When you lie down with dogs, you have to live with fleas." In a dramatic scene Mitchell gives Gould an honest appraisal of the status of his "history" that creates a rift in their relationship. But the bond is never completely severed as some of the final scenes indicate.

The period setting of New York City in the early 1940s lends an air of nostalgia. This is a movie that Woody Allen could have made if he could ever dial his nervous anxiety back several notches. The music is suitably subdued and melancholic. The casting is perfect and the performances are excellent. Every aspect of the filming gives evidence to a loving commitment.

This is a movie about dreams realized and unrealized. In a letter to Mitchell, one of Gould's friends states that, "the City's unconscious may be trying to speak to us through Joe Gould. The people who have gone underground in the City, the City's living dead. People who never belonged any place from the beginning, people sitting in dark bar-rooms, the ones who are always left out, the ones who were never asked." Such words leave you with an unspecified yearning. Maybe a yearning to read Mitchell's original "New Yorker" articles "Professor Seagull" and "Joe Gould's Secret" upon which this movie was based.

With all the garbage that's been coming out in the theaters recently, I've taken to staying home and renting movies that never made a big splash at the box office. With Joe Gould's Secret, I lucked out and enjoyed a movie that was better than I could have imagined.

All the performances, most notably Ian Holm's, are stellar. The scenes of 1940's New York will fill you with nostalgia, even if (like me) you were born well after that time. Occasional appearances by the always wonderful Susan Sarandon and Steve Martin only heighten the pleasure of a perfectly-acted, -filmed, and -directed gem of a movie.

But, in the end, it is the character of Joe Gould -- brilliant, mad, heartbreaking -- that makes Joe Gould's Secret so perfect. He is the farthest thing imaginable from the "cute homeless guy" stock character of your typical insulting Hollywood script.

Do yourself a big favor and see this movie.

This is a story of one very unusual and several fairly interesting characters - no more and no less. Some reviews talk about how well the film captures the look and feel of 1940 New York, but Tucci kindly does not hit you over the head with atmosphere; there are no "do you get it? You realize who that was supposed to be?" scenes. Instead he merely nails down the milieu so precisely that it becomes unobtrusive, and allows you to focus entirely on the characters and their story. Likewise he seems to ignore who in the cast is a star, in favor of who is right for each role. The result is not quite a touching story, nor an inspiring one, nor a tragic one, but a satisfyingly believable as well as intriguing one. Not a documentary, by any means - it is far more creative than that - but fine story-telling. No individual and no event is larger than life, but all are handled with respect and just enough affection. The fact that the story is true is almost incidental; from what I can tell, memorable characters such as Harold Ross (and of course Gould) are portrayed with great accuracy, but what really counts is that they work as characters.

Don't worry about what the secret is. Just get to know these people. You'll like them.

What a beautifully crafted cinematic experience this is. Joe Gould, as played by the inimitable Ian Holm; is at once sweet, crass, full of rage, and teetering on the edge of madness. While Gould stands front and center,his "secret" is much, much more than we are led to believe. While wandering the city in quest of an "oral history" from thousands of New Yorkers, Joe Gould meets Joe Mitchell, a writer with the New Yorker magazine. Mitchell is drawn to this strange man who strides through Greenwich Village demanding donations to his "Joe Gould Fund". While we have to wait until the very end of the movie to find out Joe Gould's Secret, it's worth the wait. Director and Star, Stanley Tucci(Joe Mitchell),has evoked pre-WW2 New York as we would want it to be. His actors are first rate and fill out their characters to perfection. As the movie progresses, we become aware of the sadness and anguish that leads to the final understanding, and the clues we didn't see along the way.

Starring one of the best actors in the world, Ian Holm; and Stanley Tucci, who also does a great job in this period drama based on a true story about one of the most unusual New York writers in modern history (Joe Mitchell), and his attempt to write a feature story on one of New York's most notable philosopher characters- a street person who is well-known in writer circles. Joe Gould claims to have written a massive volume that is the complete history of the world based on countless conversations he has heard from people- overheard in the street, and in conversations with friends and strangers. It is never revealed whether Gould really ever had such a manuscript, or if he was a total hoax- possibly somewhere in between. But the effect he has on Joe Mitchell (an actual top feature writer for the New Yorker during the 1940s), is profound. This is an outstanding drama- one of the best of a couple years ago (2000). <p>As reported on NPR after this film release, Joe Mitchell later unexpectedly stopped writing anything, and became a recluse himself. He would never reveal Joe Gould's secret to anyone. Now this film is inexplicably out of print on DVD, which adds a touch of irony to this important piece of American literary history.