Sonny

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

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.

The truths explored in `Sonny' are not easily accessible to those who have never faced the choice that faces Sonny Phillips: whether to `square up,' or continue in a life style with extremely limited options, and little room for growth. Many who are born into a life of prostitution never seriously consider leaving it, most who have never experienced that life style are unaware of the dishonesties and injustices inherent in living on their more socially-acceptable middle-class level. The story sums up neatly: Sonny comes home after a stint in the army with the goal of leaving behind his former life style as a male prostitute. His mother, Jewel, who turned him out when he was twelve years old, now lives off of Carol, a beautiful young whore who has Sonny's old bedroom. Jewel wants to keep Sonny with her, and have him work as a team with Carol.

Somehow, 26-year-old James Franco is able to tap into a wellspring of emotional depth to show the anguish attendant in the decision Sonny tries to make and honor. Somehow, Nicolas Cage was able to lead him to it. What these two have accomplished should not be overlooked or undervalued. `Sonny' is a magnificent achievement. It is a movie that explores many themes, paramount among them that each of us is worthy of love, capable of innocence and growth. Real affection can be found in the unlikeliest of places, respect shows itself in many ways, trust is fragile, and love doesn't protect anyone from anything. Franco's performance could be considered nothing short of miraculous, if it weren't known how hard-working an actor he is. This range of talent hasn't been seen since 1955; his slight frame belies his power, and his smile is an endearing joy. Mena Suvari, as his love-interest, Carol, is also an unexpected delight, bringing to mind nothing so much as Carroll Baker's performance in `Baby Doll.' Her combination of innocence and sexuality is reminiscent of Marilyn Monroe's, and it's nice that someone is on the scene to keep that flame alive. Also noteworthy is Brenda Vaccaro as Meg, an old trick of Sonny's who's eager to spend time with him again. She brings a warmth and generosity to a role that could seem ludicrous in a lesser actress. Not least among all these terrific talents is Brenda Blethyn as Sonny's mother Jewel. Although her southern accent seems questionable, it's difficult to think of another actress who could make someone who's done something this despicable to her child, seem genuine and likable. As her friend, Harry Dean Stanton also pulls off something unexpected, bringing depth of character to someone whose occupation as a shoplifter could otherwise lead us to think of as shallow. But it is a director's vision that pulls a movie together, and Nicolas Cage is to be heartily and enthusiastically commended for what he's accomplished here. `Sonny' is a wonderful movie.

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.

Am baffled at the low ratings and poor reviews this film has gotten. Would this still have been the case if Nick Cage were not an A-List actor? I thought this film to be a phenomenal character piece that kept me gripped until the very end. James Franco once again shows his chops as one of the best actors of his generation. Perhaps the film was a little too real for many to take and showed a life of prositution that was not through Hollywood goggles (ie Pretty Woman). With the exception of Scott Caan, all the performances were stellar and the movie was a phenomenal debut for any first time director. I hope that you haters out there do not sway Mr. Cage away from his position behind the lens.