Joe the King

As I watched this brilliant film by Frank Whaley, I found myself more and more, examining crime in general. Certainly there are more than a few people that think convicts are born bad and should do the max. However, this film shows under what conditions criminals are made and you know what, it is not always their fault. I know this sounds like liberal claptrap, but I believe it true. In this movie, we see a young man that literally has nothing. An abusive, alcoholic father that is rarely around, unless he is there to smack him around. A mother that can't manage her own affairs, much less anybody elses'. An odd brother that generally only thinks of himself. Then we have our main character who strives to make a go of it and bring them together. He is good and caring, but he is too young to provide for everybody. The family is destitute and will never be the uniting force it needs to be for the betterment of our main character's life. . Our character is uneducated and left to fend on his own, inevitably he turns to crime. Gripping movie that I could not break away from. Highly recommended.

This movie highlights the horrible effects a dysfunctional family life has on a child. Can we really blame juvenile delinquents for their actions? Or are they the product of their environment? Noah Fleiss did a sensitive portrayal of a boy trapped in impossible circumstances. Yet, remarkably so, he was a strong boy, able to withstand the stabs from his father and non-supportive mother, ultimately landing in very serious trouble for trying to do good.

In the past 24 hours I've read "The Body" then watched "Stand By Me"; read "Sleepers" then went to rent the film at a local store. I spent a good while searching for their one copy, then drifted to the comedy section to pick up something light for afters. Spying a film with Kilmer's name on the cover, I picked up "Joe The King", & wondered if Kilmer'd gone back to his comedy roots. Ha! The only thing funny is how some joker stashed this stale downer in the comedy section!

I popped in the video after finishing Sleepers and was amazed to find myself watching yet another decade of tortured boyhood. 50's, 60's, 70's, none of it fit in a "Happy Days" world. Now, thirty years on, and I wonder what horror stories the 80's and 90's have bred and who will get the funding to tell us all about it.

"Joe the King" doesn't quite work, for several reasons, least of which is the fact we can't really feel for him. Where are the likable characters? In every life, there are some, and films demand at least one or two. In this film, all the adults are mean or obtuse, oblivious to anyone but themselves. Whaley gave us stereotypes and the actors weren't challenged beyond them. John Leguizamo's character is a bright spot, but realism is blown by him not taking the kid's age into account. In real life he wouldnta talked to him like a balling, boozing buddy, the kid looks to be only 12 or so. Ethan Hawke could have made a difference if he had put in a little effort... showing his sandaled feet bypasses character development, implying warmth and understanding, but the gimmick is wasted by the flatness of his character. His not knowing what "pithy" means blows his credibility as an educated man in a position of power in a school. Gimme a break!

Some scenes are heavy-handed, some merely sketched. (And what is the deal with Kilmer's mega-elbow?? It is framed for viewing, so why?) The level of back talk and profanity is also wrong for the era. Kids mighta had filthy mouths with each other, but exchanges with adults would have left them dusting off their pants after a quick trip to the floor. The title is not explained, and there is nothing at all to suggest why Joe is a King. His peeing in the food makes scant sense when he doesn't even tell his brother about it to ease his suffering.

Music could have been a saving grace, but it is barely explored. This is a depressing film that may have exorcised somebody's demons, at least I hope it did. Basically, though, this film lacks respect, for its characters, its premise, and ultimately, for us.

Whenever I watch a film like Frank Whaley's Joe the King, it reminds me how grateful I am to have the family I have, the opportunities I have, the privileges I have, and the love had for me. After spending one-hundred minutes with a kid who has almost nothing, I think about myself, and how I have so much more than I can ever want, no so much about the tangible things, but the intangibles like unconditional love, incredible academic opportunities, and a whirlwind of support for what I do. Counting these blessings only becomes easier after witnessing a film like Joe the King.

The film stars Noah Fleiss as the titular character, a fourteen-year-old who has spent his life victim to physical and emotional abuse by his violent, alcoholic father Bob (Val Kilmer) and his short-tempered mother Theresa (Karen Young), who doesn't make up for the lack of attention brought on by his father. Joe's brother is rather kind to Joe, never threatening or unnecessarily assertive, but still lacks that kind of warmth and love that Joe desperately needs in his life. Taunted by his classmates because his father works as a janitor, harassed by drug dealers who are threatening his life because his father won't pay his debts, and left to his own devices, Joe takes on a quiet life of crime, conducting petty heists and stealing from local residents in order to obtain the money he needs. Unlike most kids his age, Joe has a job, which is a cook and bus-boy in a sketchy restaurant. Joe works to buy his mother all the vinyls his father trashed in a drunken rage, while also trying to keep his criminal profile as subtle as it can be without him getting caught.

The idea behind Joe the King is incredibly intriguing, focusing on a young boy who, through all the abuse and neglect, still loves and deeply cares for his parents, which is a rarity in these kinds of films. Normally, we see a young boy or girl hating their parents for putting them under these conditions, which is very understandable. However, Joe's desire to help his dad out personally and repay his mother for something he had no involvement in makes Joe the King unique in the department of coming of age films.

Fleiss is great as Joe, clearly possessing the traits of an actor who can show no emotion or a lot of it, depending on what the scene calls for. Assisted by the likes of Kilmer and Young, he can really do no wrong, showing what life is like being a young boy with little to rely on and no one to trust. Even his guidance counselor (Ethan Hawke) bears a frustrating emptiness in Joe's mind, really proving to himself that he can't trust anyone and only has himself to rely on.

The only issue with the writing (done by Whaley himself) is that the film spends too much time on Joe, so much so that the supporting characters in his life are subtly developed and only given vague and rather broad stereotypes to work off of. Because of this, no one besides Joe really receives development in the film and that's an issue for a film looking to develop multiple different characters in multiple different situations.

Despite this, Whaley overcomes the film's largest task, which is make a character who does wrong, morally reprehensible things sympathetic and emotionally honest, a feat that remains consistent throughout the film. Whaley treads a fine line between committing contemptible actions as a poor, loathsome character and having sympathy for the offender nicely, making Joe a surprisingly sympathetic soul throughout the entire film. Consistently we recognize that he is a good soul doing bad things in order to stay moderately afloat, which is what makes the film strong and stable.

With three directorial efforts under his belt, and a fourth one on the way, Whaley proves that he enjoys glaringly flawed characters, who consistently try to do good by doing bad, which immediately makes for an intriguing story. Lifted up by fantastic performances by everyone involved and a biting, almost unshakeable amount of emotional leverage, Joe the King is equal parts upsetting as it is moving, which, for a first time director, is difficult to achieve. However, Whaley handles the challenge like a true directing veteran.

Starring: Noah Fleiss, Val Kilmer, Karen Young, and Ethan Hawke. Directed by: Frank Whaley.

Featured at the 1999 Toronto Film Festival, the directorial debut from the talented actor Frank Whaley "Joe The King" was introduced by Frank's long-time friend Ethan Hawke and the film's main actor Noah Fleiss. Ethan explained that Frank and he had been the best of friends since their work on "A Midnight Clear" together. Frank couldn't present the film because he was only just getting into Toronto at the airport but happily agreed to a Q&A afterwards.

The film portrays with stunning clarity a bleak period in the life of Joe, a fourteen year old boy from a lower class neighbourhood whose father is an alcoholic and works as a janitor in Joe's school. Joe works in a restaurant after school and in all aspects of his life he's surrounded by people who look down on him, talk down to him and sometimes beat on him. It's very difficult to not feel sorry for someone like Joe, he'll likely break your heart. Many of us may have bad childhoods or perhaps recall them as such, but for most, this film will give you reason to feel lucky and fortunate whatever your situation was.

There's not so much a story as there is a stringing together of vignettes of a hellish childhood that brings an authentic feel to each and every aspect of the film. While the film does move along quite slowly, each performance given is a strong building block to assemble what ultimately seems to be an autobiographical account. The world that Joe lives in is so fully constructed and detailed that it's easy to forget you're watching a film and not a documentary.

What was revealed in the Q&A afterwards, was that Whaley wrote this film as a conglomerate of his brother and his own experiences growing up. A statement he almost reluctantly offers, explaining that the original title of the film was named for the street where he grew up. Out of respect for his mother they chose "Joe The King" which turns out to be a fairly arbitrary title. "I hope you're not telling people it's autobiographical," as he mimics his mother's concerned sentiment, at which point he shares that he hopes she never sees the film as it may prove too painful for her.

While the film is not based on a true story per se, that is not what is most relevant. What Joe goes through on a daily basis is what this story is about, what is likely to stir you, and not the pivotal event in the later part of the film. And as a young Joe looks into the camera at the end of the film, holding there for a moment. The question that haunts the viewer is, "What will become of young Joe The King?" The answer stood before us with a microphone in hand, fielding answers from an intrigued audience. Frank Whaley himself is the affirmation to his own film.

Frank in his usual charming way answered questions with enthusiasm and humour at one point recounting the casting of the film. As an actor for many years he has had the pleasure of working with numerous gifted individuals and many of these faces appear in the film. He had more difficulty with casting the younger element of the film as he explained that he "doesn't know any kids". He couldn't have asked for a better young lead than Noah Fleiss to play so convincingly Joe the King. And while I don't see this film breaking box office records or even flying off the video stands due to its depressing, sombre nature, I do believe it will be very meaningful to some people and for others prove how lucky they really are.