Joe

Norman Wexler, who went on to encapsulate the zeitgeist in SATURDAY NIGHT FEVER and to create deathless, hyper-offensive camp in MANDINGO, was a prince among hot-button-pushers in JOE. When a Madison Avenue type (Dennis Patrick) throttles to death the sneering drug pusher who was the lover of his daughter (Susan Sarandon), he meets an unlikely fan and friend: Joe Curran (Peter Boyle), a racist, hippie-hating hardhat type who's as far from the genteel Mr. Compton as warm root beer is from gravlax and eggs. The movie is as flummoxing, and as weirdly elating, as a deeply abusive boyfriend. One minute it's getting you to giggle along with the no-baloney Joe; a second later, he's a Hitlerian psychopath. At times, we're touched by the friendship and mutual respect that crosses class lines; at other times, we're made to chuckle at Joe and his wife's homely ways, and at still others Compton's brand of magazine-derived good taste comes in for a beating. Like another surprise hit of its year, PATTON, JOE has that non-lecturing, read-it-this-way-or-that quality. Nearly every scene has something for an audience to cheer or boo (and oftentimes, those are the same things). The director, John G. Avildsen, has a few real winners (SAVE THE TIGER, NEIGHBORS) in his undistinguished career; this may be tops among them.

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.

Bill Compton is a wealthy, conservative advertising executive who would be living the traditional American dream were it not for one thing: his daughter is a hippie. She and her boyfriend spend their days doing drugs and wasting time. After she overdoses, Compton accidentally kills the boyfriend in a fit of rage. Later he meets Joe, an ultra-right-wing blue-collar worker, and drunkenly tells the man his murderous secret. Joe believes he's found a kindred spirit in Compton and the two form an unlikely friendship. However, Joe's virulent hatred for anything and anyone liberal makes both men's lives increasingly complicated, violent and dangerous.

Directed by John G. Avildsen, 'Joe' is a character study and a drama about evolving cultural mores, highlighting the ideological schism that emerged between generations following the counter-culture revolution of the 60's. Norman Wexler's screenplay is sharp and full of fantastic, grittily realistic dialogue. It is unhampered by bias, scathing of both old school conservatism and the 'free love' attitude of the hippie movement alike- not to mention political extremism and classism. While the story contains moments of violence and can be a tad melodramatic from time to time, at its' heart it's a clever, subtle examination of two multi-faceted, realistic characters.

Compton and Joe are disillusioned by a society in which they no longer feel comfortable. As many were at the time, they are threatened by the hedonistic lifestyle the youth of the film embody. However, they are also strangely attracted to it. Compton and Joe want to partake in the 'free love' but can't allow themselves to because of their deeply held conservative beliefs. Thus, they are left out in the cold so to speak, and their violent reaction to their uncertain place in the 'modern' world seems like a foregone conclusion from the beginning of the film because of the strength of Wexler's characterization.

Having said that, the supporting characters are all a little hollow and underwritten in comparison to Compton and Joe, most notably Compton's daughter, played by Susan Sarandon in her big screen debut. She comes across like a parody of a hippie, the kind you'd see dancing in the background of a Peter Sellers' farce from the 60's- or perhaps even one of the 'Austin Powers' films. What makes it all the worse is the fact that Sarandon is completely stilted, wooden and lacking in charisma. Though in a few years she'd start giving the powerful, nuanced performances she's known for today, it's a wonder her awfully mediocre work in 'Joe' didn't derail her career just as it was beginning.

On the positive side of things, 'Joe' features an atmospheric original soundtrack from Bobby Scott that makes good use of songs from the likes of Exuma and Dean Michaels. Michaels 'Hey Joe' is particularly memorable, with lyrics reflecting the narrative beats of the film, as well as the ideology of the titular character. Besides directing, Avildsen also acted as cinematographer and his work has a naturalistic quality that is most affecting. The film is also very well-edited, having a brisk pace that makes Compton and Joe's journey to the dark side all the more exhilarating and frantic.

Dennis Patrick stars as Compton, delivering a performance of style and subtlety. Not as colorful or as openly bigoted as the titular character, Compton is nevertheless a complicated person with darkness in his soul, a man capable of extreme violence. Patrick couldn't have been better in the role, bringing to it much depth and intelligence. He makes Compton sympathetic- which is no mean feat considering the actions the character takes in the film- and he and co-star Peter Boyle work together marvelously.

Always a reliable actor, Boyle is brilliant as the bigoted blue-collar worker Joe. While not a likable character by any means, Boyle imbues Joe with a certain seedy charm and complexity that is intensely interesting and effective. He plays Joe as a regular man whose perception of reality is skewed by his political inclination, as one who can't see the truth from behind a blinding veil of conservative dogmatism. Boyle's assured performance is a joy to behold, and one can tell that he understood the character's motivations perfectly.

In short, John G. Avildsen's 'Joe' is a powerful and clever parable about bigotry, principles and violence boasting a fine Norman Wexler screenplay and a great soundtrack from Bobby Scott. Dennis Patrick and Peter Boyle deliver two fascinating, impactful performances of great depth and complexity that are highlights in both men's filmographies. Although the supporting characters are a little underwritten- and some questionably acted- 'Joe' is a terrific movie that has only gotten more relevant and entertaining with time.

New Yorkers contemporaneous with this film will recall how reflective of its time it is and how well cast and crew captured America, New York City of that era.

Norman Wexler's script delineates the different worlds the various sub groupings live in and Avildsen's direction brings out phenomenal performances all around. Peter Boyle's prodigious talent is on display as never before nor since. Clearly it is the best character portrayal the always likable Dennis Patrick ever accomplished.

What I will always remember about JOE is the feeling of having been in a virtual state of shock coming out of the theater. Knowing that what the screen portrayed was seething under the surface in neighborhoods throughout the five boroughs of the City of New York.

This film needs to be remembered.

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?