La guerra del cittadino Joe

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?

It's about a square ad executive (Dennis Patrick) who kills the drug dealer boyfriend of his junkie daughter (Susan Sarandon, her film debut). He strikes up a friendship with a bigoted factory worker (Peter Boyle) and the two decide to infiltrate the hippie world of lower East Side of New York.

This is a gritty, sometimes funny look at hippie and drug culture. Peter Boyle is excellent as the loudmouth working stiff, being both funny and scary at the same time. The music is good too, an excellent song sung by Jerry Butler is played over the credits and there is a hilarious country tune dedicated to the Joe character. The film is not for everyone, if you are offended by foul language, racial slurs, nudity, drugs or violence, you should stay away. In fact, you should probably stay way from the 1970s if you are so offended.

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.

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.

"Joe" is one of those movies where, although you think that it might go along smoothly, ends up hitting you like...I can't come up with an analogy. It showed not only that America's long-standing idea of unity was moot, but also the various aspects within our society. Melissa Compton (Susan Sarandon) is the ultimate flower child, while her father Bill (Dennis Patrick) is a clean-cut executive. One day, Bill accidentally kills Melissa's boyfriend. In the immediate aftermath, Bill gets acquainted with Joe Curran (Peter Boyle), an ultra-right-wing, rabidly racist working stiff. As a result, the two of them end up associating more and more with the hippies, whom Bill finds unpleasant and Joe outright hates. But in the end, everything has dead serious consequences.

True, some parts of the movie are a little bit dated, but it's a good juxtaposition of America's two sides during the Vietnam War. And rest assured, the residual effects of all that will probably never go away.