A Ponte do Desejo

Yes, it's the film of That Song. No movie can ever hope to to justice to the enigmatic, doom-laden 1967 Bobbie Gentry hit, or come close to capturing the stifling Southern atmosphere that the song evokes so well, but as a film in its own right, this prettily-photographed tale is not at all bad. The locations are all genuine Mississippi, and cinematographer Michel Hugo has done an excellent job of evoking the exuberance of high summer.

And talking of the 1960's, remember Jethro Bodine and his sixth-grade education? Well the actor who created Jethro (and is also the son of the heavyweight boxing champion), Max Baer Jr., produced and directed this quirky little offering.

It is Mississippi in 1953, and the pretty adolescent girl Bobby Lee is having fantasies about boys. Billy Joe McAlister begins to court her, but as their mutual affection blossoms, darker currents are swirling beneath the Tallahatchee Bridge ...

A careful, almost literal rendering of the song, the film is a commendable effort which gets stronger and more assured as it goes along. If it is somewhat heavy with Deep South cliche (plenty of "ah dew declayer" and "raaaht neighbourly"), it really couldn't have been otherwise. The song itself is overloaded with similar stuff. I personally did not like Bobby Lee's poem, which struck me as to syrupy and too slow.

Bobby Benson is adequate as the haunted Billy Joe, but the film's real success is the performance of Glynnis O'Connor as Bobby Lee. She handles the range of emotions with aplomb, and virtually demands that the viewer identify with her. The final scene on the bridge confirms that Bobby Lee has grown as a person and has emerged from the tragedy stronger than the adults around her.

Bobby Lee's huffy soliloquy on the country road is very good, with its subtle edge of self-deprecating humour, and the long courting-scene which follows it is nicely-judged. The rueful interregnum after Billy Joe's disappearance is beautifully done, dominated by the delightful Michel Legrand piano score. The rag doll floating in the water is a striking symbol, both of Billy Joe and of the abandonment of childhood.

Verdict - If a film version of the Bobbie Gentry song is going to be done, this is probably the best way to do it.

I remember seeing 'Ode to Billy Joe' when I was about twelve, and just starting to deal with the fact that I was gay. Growing up in rural Wisconsin I could relate very well to the negative attitudes towards gays, and find it very believable that a young gay person in that situation would consider killing themself. I also find it very believable that a young gay person would date a person of the opposite sex, just think about how many gay people do get married. Even though Billy Joe is a tragic figure I found the movie to be comforting, I think I took comfort in the fact that at least someone was talking about homosexuality, being Catholic my family never spoke about sex much less homosexuality and I think that is the way it was in most families in the seventies. Over the years I have thought of that movie often and I think at times it helped me keep my sanity, I would love to see it again!

While this good film is no masterpiece, it certainly has earned its place in Hollywood lore. First of all, the screenplay was co-written by Bobbie Gentry. She hand picked Herman Rauncher( Summer of Forty Two) and spent weeks helping him with the screenplay Belinda( the stripper in the film) is a song from Bobbie's masterpiece album, PatchWork. Benjamin( the imaginary childhood friend) started out life as a Bobbie Gentry song too. Her vision is all over this film. Her grandparents farm in Mississippi even served as the back-drop for the story.Billie Joe is the first gay character portrayal in film history without a hint of stereotying. He is full of real depth and humanity. On a production budget of 1 million dollars, this film had a box office run of 50 million. Business savy Bobbie Gentry still owns 10% of it in her deal with Warner Brothers. Because of its success,Coal Miners Daughter would receive a huge production budget in 1979.

If this is truly supposed to be an adaptation of the Bobbie Gentry song, it makes utterly NO sense. I'm gay, so I'm usually sensitized toward picking gay references out of pop culture, but to make Billy Joe in the film struggle with his sexuality is fairly ridiculous.

If you read the lyrics to Bobbie Gentry's song, it seems pretty darn obvious that what the narrator and Billie Joe are throwing off the Tallahatchee Bridge is their out-of-wedlock baby.

Just Google search the lyrics, listen to the song, and see if that interpretation doesn't make much more sense than how the movie presents the story.

ODE TO BILLY JOE is a humerous and touching tale of events leading up to why "Billy Joe McAllister jumped off the Tallahatchie Bridge", as related in the Bobbie Gentry hit. Director Max Baer Jr. (who would have thought "Jethro" had this kind of talent?) skillfully re-creates an atmosphere of 1950's rural Mississippi. and breathes life into characters only hinted at in the song. Scripted by Herman Raucher, with the same feeling of nostalgia he gave SUMMER OF '42, and beautifully scored by Michel Legrand, ODE TO BILLY JOE is a sweet and touching story of the awkwardness of teenage love, and the consequences of an unfortunate event, which, in today's politically correct times, would probably be scorned or laughed at. Glynnis O'Connor and Robby Benson, are re-teamed after their excellent debut in JEREMY. Another treasured film on VHS, that I hope will someday come out on DVD.