Sonny

Sonny, the son of a New Orleans whore, returns home from the army determined to start a new life far away from prostitution. He finds that, even in 'live and let live' New Orleans, one's past is hard to escape.

The characters in this film are disturbing, volitile and manipulative. Other times they are sensitive, caring and fragile. Even Cage's over the top portrayal of a pimp, left me with the feeling that people such as this existed in the early 80's sex industry. The film captured excellent and emotional performances by James Franco, Brenda Blethyn, Harry Dean Stanton and Mena Suvari. Nicholas Cage, in his directorial debut, brings to life a script that fits well with his 'outside the box' body of work. The unusual sound track relied heavily on Bach and Beethoven with Devo and Wall of Voodoo mixed in.

Sonny was shown to a US audience for the first time at the Virginia Film Festival in Charlottesville, Virginia. A superb Roger Ebert interview of Mr. Cage followed. During the interview, we learned that the film went into production 3 weeks after Mr.Cage decided to produce and direct the project. It was shot primarily in a French Quarter building that Mr. Cage happened upon, purchased and now does not know what to do with. Filming lasted 6 weeks. Even if you consider the fact that Nicholas Cage first read the script many years ago, intending to play the part of Sonny, it is unbelievable that this film went from 'green light' to 'in the can' in 9 weeks.

Welcome to another movie that belongs to the genre of "Life is terrible and nobody's happy." If you're in the right mood for them, they can be terrifically entertaining. One of my favorite movies of its year was The Florida Project because of its realism and sorrow. Sonny is a drama about a young man who wants a better life for himself than he was born into. Okay, that's not exactly what it's about, but in a nutshell, that's the basic message that people in the audiences can relate to. In a tearful monologue, Harry Dean Stanton admits that there every single moment of the day he wishes he was someone else. "If I look too close in the mirror, I might see me. I don't think I'm quite ready for that," Mena Suvari confesses.

Those of you who've read my reviews know that I'm notoriously harsh on films that glorify prostitution. Sonny portrays it as the seedy, humiliating, disgusting business that it is. Brenda Blethyn is at her best: low-class, ignorant, selfish, with an edge of sugar that's equal to the edge of vinegar. She plays James Franco's mother and pimp, and when he returns from three years in the army, she expects him to pick up right where he left off. He doesn't want to, and in a heartbreaking scene, he seeks employment at a clothing boutique only to be recognized and embarrassed by former client Brenda Vaccaro. This is a far cry from Pretty Woman, folks, so don't expect Franco to run off with Mena Suvari, his mother's new employee. They form an attachment because they feel like they're both trapped and both know what it's like to carry the stigma of working in prostitution, but the movie spends much more time lifting the lid on how the other half lives than on a little romance.

If you're watching this movie for Nicolas Cage, he doesn't show up until the last fifteen minutes, and you probably won't even recognize him. However, since he did direct and co-produce the movie, you're still seeing his handiwork even when he's not on the screen. This is his directorial debut and it doesn't feel like it was made by a newcomer. There are no glossy edges, and most scenes are set in broad daylight so the characters have no filter to hide behind.

The performances in this heavy drama are extremely strong, and if you can stomach it, watching it for the second time will bring out previously hidden layers. Mena Suvari has the deadened look that real prostitutes wear; it's clear self-hatred replaced self-respect long ago. James Franco shines in scene after scene as he degrades himself and lets other's expectations of him take precedent over who he thinks he could be. Anyone who thinks Julia Roberts played a realistic prostitute should watch Sonny and get an education. They get treated like garbage, they get humiliated, and sometimes they don't even get paid. It's a terrible, dangerous way of life.

It's understandable that Sonny wouldn't find a very large audience, but if you like James Franco-his talent, I mean-you should consider renting it. Yes, he's ridiculously gorgeous and puts on the Southern drawl he's perfected through the years, but this is not a steamy movie to rent for girls' night. If you're renting it, it's because you want to see another facet of his versatility.

Kiddy Warning: Obviously, you have control over your own children. However, due to graphic sex scenes, I wouldn't let my kids watch it.

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 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.