Sonny, O Amante

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 really enjoyed the slightly unusual dimension brought to the film by Nicholas Cages's direction, showing the same characteristics as many of the films in which he has a leading role. The role of Yellow acid was a bit over the top but the other roles all believable and well acted. The much worked cliché of being drawn back into a rut was kept interesting by the unlikely paradox that a good looking and sexually adapt male could struggle to impress in normal situations simply because of the stigma and baggage of his previous occupation. James Franco was an excellent choice as Sonny portraying the on the surface shy but extremely confident individual with great believability.

i am a film student and i make it a point to stay up till 330 a.m just to watch movies like this. first there were slow moments, and some forced actions between characters, but franco's acting is always superb. i mean the shot where he flips out in the car, or when he screams at the naked girl on the floor. directing is basic. the editing is fast and tells the story well. i liked all the characters, the mother had me hating her the second she spoke and james made me feel bad for his character.

i honestly think that if you want to see a good undiscovered movie that wont win awards, but can be picked apart for joy and scrutiny then this will do it. overall acting is very well, and the story has a few plot holes but if you watch the direction the director wants you to then it makes up for it

The truths explored in `Sonny' are not easily accessible to those who have never faced the choice that faces Sonny Phillips: whether to `square up,' or continue in a life style with extremely limited options, and little room for growth. Many who are born into a life of prostitution never seriously consider leaving it, most who have never experienced that life style are unaware of the dishonesties and injustices inherent in living on their more socially-acceptable middle-class level. The story sums up neatly: Sonny comes home after a stint in the army with the goal of leaving behind his former life style as a male prostitute. His mother, Jewel, who turned him out when he was twelve years old, now lives off of Carol, a beautiful young whore who has Sonny's old bedroom. Jewel wants to keep Sonny with her, and have him work as a team with Carol.

Somehow, 26-year-old James Franco is able to tap into a wellspring of emotional depth to show the anguish attendant in the decision Sonny tries to make and honor. Somehow, Nicolas Cage was able to lead him to it. What these two have accomplished should not be overlooked or undervalued. `Sonny' is a magnificent achievement. It is a movie that explores many themes, paramount among them that each of us is worthy of love, capable of innocence and growth. Real affection can be found in the unlikeliest of places, respect shows itself in many ways, trust is fragile, and love doesn't protect anyone from anything. Franco's performance could be considered nothing short of miraculous, if it weren't known how hard-working an actor he is. This range of talent hasn't been seen since 1955; his slight frame belies his power, and his smile is an endearing joy. Mena Suvari, as his love-interest, Carol, is also an unexpected delight, bringing to mind nothing so much as Carroll Baker's performance in `Baby Doll.' Her combination of innocence and sexuality is reminiscent of Marilyn Monroe's, and it's nice that someone is on the scene to keep that flame alive. Also noteworthy is Brenda Vaccaro as Meg, an old trick of Sonny's who's eager to spend time with him again. She brings a warmth and generosity to a role that could seem ludicrous in a lesser actress. Not least among all these terrific talents is Brenda Blethyn as Sonny's mother Jewel. Although her southern accent seems questionable, it's difficult to think of another actress who could make someone who's done something this despicable to her child, seem genuine and likable. As her friend, Harry Dean Stanton also pulls off something unexpected, bringing depth of character to someone whose occupation as a shoplifter could otherwise lead us to think of as shallow. But it is a director's vision that pulls a movie together, and Nicolas Cage is to be heartily and enthusiastically commended for what he's accomplished here. `Sonny' is a wonderful movie.

Nicolas Cage needed to get this out of his system, I guess. He never directed before or since, and it's a project that speaks somewhat to what we know about his influences - James Franco, channeling, I think, James Dean, who was Cage's reason to become an actor - and, I suppose, to his wanting to tell this particular story of a gigolo in New Orleans circa 1981. Whether or not he'll make a movie with such concerns, or just another movie as director period, remains to be seen. For now we have this, a melancholy look at a young man screwed up by his mother (and by screwed up I mean by her having him as a man-whore starting when he was 12 years old) and unsure of where to go in his life. It has its misses, and just strange quality about it at times. But it also has life and some weird energy about it that's hard to shake off.

Cage certainly casts with some interest, and more or less he's a good actor's director. He gets Franco to dig deep into his character Sonny, a guy who escaped to the army more-so than really serving from his existence as a hustler of lonely middle-aged women looking for some hot thrills and sex. When he gets back he wants to go legit - something his mother (Brenda Blethyn) is dead-set against - but is drawn back in after a bad encounter visiting an old army buddy in Texas, and when he realizes that his reputation in the quarter of New Orleans he lives in is locked: he's a man-whore, and is undesirable except in his lowly position. He also seeks advice from a boyfriend of his mothers, Harry Dean Stanton, and his mother's current protégé prostitute played by Mena Suvari.

Cage manages to get some really affecting scenes with his characters. One of which is the morning after Sonny and Carol have done some prostituting at a Louisiana mansion (Sonny with the main madame, Carol with some other guy), and they're at a farm and see in the barn a dog that's just given birth to puppies. It brings Carol to tears as she thinks she won't be able to get out unless she makes a clean break. It's one of those highly melodramatic scenes- think Douglas Sirk, that much so- but it works, albeit with some cheesy touches (when Carol says to Sonny "I love you" rain just starts on cue). Other scenes try to be more affecting but are a little more compromised. Scenes where Jewel (Blethyn) does her sob routine in front of Sonny work up to a certain Tennessee Williams style dramatic point, but Blethyn's accent is way over the top. A couple of short scenes between Stanton and Franco fare much better.

And other times Cage is just trying things out as a director, and sometimes things work and sometimes not. He's a little rocky when it comes to scene transitions: we see Sonny's trip from New Orleans to Texas with lots of fast-motion shots of his car driving to Rush's 'Limelight' and it's just silly. And when it comes time for Sonny to really be low in the dumps following the death of a character, as he wanders drunk and meets a gay drug-fueled pimp (played by Cage himself, Acid Yellow, a particularly strange and unerring figure to come at this point in the film), it's met with some mixed results as Franco is good but everything else seems forced or fake. But, again, usually with his actors he gets good work, and a feeling of a 1950's existential crisis comes out of the material that works for Franco to play up (frankly he might even be better than Dean in some cases, perhaps slightly channeling young Cage to boot), and the ending of the film is a very nice twist.

It's not something to rush out to rent or buy, and I'm sure only die-hard Cage enthusiasts or fans of the actors will really seek it out (any die-hard fans of Blethyn out there?). On its own terms, however modest, it comes in with a swagger and heartbeat and does its own thing to some good if not great effect. If Cage has another project he wants to direct, I'll show some interest if not overwhelming enthusiasm.