Sonny

I had the wonderful opportunity to see the debut of Sonny at the Virginia Film Festival on 26 October 2002. This is a gritty and raw portrayal of a young man's attempts to change his fate. Mr. Cage has made a daring film about the difficult life of a male hustler.

This is a film that spares nothing and finds us rooting for each character's redemption. This is not to be missed.

I really enjoyed the slightly unusual dimension brought to the film by Nicholas Cages's direction, showing the same characteristics as many of the films in which he has a leading role. The role of Yellow acid was a bit over the top but the other roles all believable and well acted. The much worked cliché of being drawn back into a rut was kept interesting by the unlikely paradox that a good looking and sexually adapt male could struggle to impress in normal situations simply because of the stigma and baggage of his previous occupation. James Franco was an excellent choice as Sonny portraying the on the surface shy but extremely confident individual with great believability.

I guess it's hard to address serious issues when you're dealing with a plot about a flamboyant southern belle who raises her son to be a natural-born-whore, because this movie is considered to be a failure even though it really isn't. It's neither the ready-made slice-of-life that Sundance specializes in, nor is it an innovative film like "Pi," so casual independent fans have little reason to like this (they probably dislike Paul Morrissey, too). So there's already a few misconceptions about the film, but add to that that it's an actor's film: what else are we supposed to expect from Nicolas Cage? The movie is a mix of piano music and prostitution, and it's just like Cage's acting -- hyper-real and over-the-top, classy and trashy at once.

The movie is partially a series of differing acting styles -- Blethyn's comic exaggeration, Franco's sleepy mysteriousness, Stanton's quiet control, Cage's funhouse tricks. But I think Cage deserves a certain amount of credit -- he doesn't scuzzify the material or romanticize it; he creates some interesting scenes (and handles most of the more potentially offensive ones with as close to grace as possible); he indulges all of his actors. And there is some real pain in the story, about not being able to switch jobs, and how vagabonds have nothing to show for their life. There are times when this goes where few films do in terms of honesty, yet the script does have increasing problems as it goes along. A scene like the one where Cage makes his appearance, seen through Sonny's drunken haze, works only because of the oddness of it; it feels stolen from other films because it's supposed to be there for the type of movie this is. But the film is at its best when it resists any "type." 8/10

Nicolas Cage directed, "Sonny" is a title to be remembered as a past time to the Ryan Gosling "esk" movies of yesterday. Featured as a dark horse humor of the deep south, with the contrast of the all to familiar promiscuous and underworld venues of "The Bad Lieutenant," James Franco puts on the convincing mask of a '1980s Nawlins" trick turner. Very independent and distant from his present day roles, Franco's performance is raw and distinguished. The plot is as simple as it is compelling. Despite this little known title, for those movie goers with the need and appetite for films of Leaving Las Vegas magnitude, "Sonny" is the enthralling feature to curb your hunger. If your search for a cinematic hallmark leads you here, I urge you to venture elsewhere. The simplicity and brutish complexion of this early 2000s artwork makes it an appealing plunge for viewers of unassuming admiration. "Better than Spiderman, not as good as 127," gage as you see fit.

Nicolas Cage needed to get this out of his system, I guess. He never directed before or since, and it's a project that speaks somewhat to what we know about his influences - James Franco, channeling, I think, James Dean, who was Cage's reason to become an actor - and, I suppose, to his wanting to tell this particular story of a gigolo in New Orleans circa 1981. Whether or not he'll make a movie with such concerns, or just another movie as director period, remains to be seen. For now we have this, a melancholy look at a young man screwed up by his mother (and by screwed up I mean by her having him as a man-whore starting when he was 12 years old) and unsure of where to go in his life. It has its misses, and just strange quality about it at times. But it also has life and some weird energy about it that's hard to shake off.

Cage certainly casts with some interest, and more or less he's a good actor's director. He gets Franco to dig deep into his character Sonny, a guy who escaped to the army more-so than really serving from his existence as a hustler of lonely middle-aged women looking for some hot thrills and sex. When he gets back he wants to go legit - something his mother (Brenda Blethyn) is dead-set against - but is drawn back in after a bad encounter visiting an old army buddy in Texas, and when he realizes that his reputation in the quarter of New Orleans he lives in is locked: he's a man-whore, and is undesirable except in his lowly position. He also seeks advice from a boyfriend of his mothers, Harry Dean Stanton, and his mother's current protégé prostitute played by Mena Suvari.

Cage manages to get some really affecting scenes with his characters. One of which is the morning after Sonny and Carol have done some prostituting at a Louisiana mansion (Sonny with the main madame, Carol with some other guy), and they're at a farm and see in the barn a dog that's just given birth to puppies. It brings Carol to tears as she thinks she won't be able to get out unless she makes a clean break. It's one of those highly melodramatic scenes- think Douglas Sirk, that much so- but it works, albeit with some cheesy touches (when Carol says to Sonny "I love you" rain just starts on cue). Other scenes try to be more affecting but are a little more compromised. Scenes where Jewel (Blethyn) does her sob routine in front of Sonny work up to a certain Tennessee Williams style dramatic point, but Blethyn's accent is way over the top. A couple of short scenes between Stanton and Franco fare much better.

And other times Cage is just trying things out as a director, and sometimes things work and sometimes not. He's a little rocky when it comes to scene transitions: we see Sonny's trip from New Orleans to Texas with lots of fast-motion shots of his car driving to Rush's 'Limelight' and it's just silly. And when it comes time for Sonny to really be low in the dumps following the death of a character, as he wanders drunk and meets a gay drug-fueled pimp (played by Cage himself, Acid Yellow, a particularly strange and unerring figure to come at this point in the film), it's met with some mixed results as Franco is good but everything else seems forced or fake. But, again, usually with his actors he gets good work, and a feeling of a 1950's existential crisis comes out of the material that works for Franco to play up (frankly he might even be better than Dean in some cases, perhaps slightly channeling young Cage to boot), and the ending of the film is a very nice twist.

It's not something to rush out to rent or buy, and I'm sure only die-hard Cage enthusiasts or fans of the actors will really seek it out (any die-hard fans of Blethyn out there?). On its own terms, however modest, it comes in with a swagger and heartbeat and does its own thing to some good if not great effect. If Cage has another project he wants to direct, I'll show some interest if not overwhelming enthusiasm.