Little Boy Blue

Little Boy Blue is a difficult-to-review dichotomy of a movie. It continually pairs brilliant film-making with portions that one would expect from a straight-to-video release.

The movie starts off quickly establishing its heavy sexual content and unusual family relationships. The alcoholic, Vietnam veteran father played by John Savage is a fierce, detestable character meant to be feared by all but his inexplicably devoted wife played by Kinski (what does she see in him?). Savage's character is effective but could have given us more understanding of why he became who he is.

Savage spares no family member his brutality and cruelty. Oldest son Jimmy (Ryan Phillippe) receives even more denigration than his two younger brothers. The tension as Savage and Phillippe both realize that Jimmy's now reaching the age where he may be able to stand up to Savage and therefore threaten his dominance over the family is brilliantly played.

Phillippe's performance is light-years past any of his others. He steals the movie with his torn-character-- wanting to escape his hellish father, but fearing what will happen to his mother and even more so his two young brothers if he leaves. This debate is layered even more into his relationship with his girlfriend and the possibility of leaving for college with his great baseball talent.

Jimmy's desperate need for love and yet difficulty of being able to love after his nightmarish upbringing makes for captivating viewing. In one sense, though, he has already found it in the wonderfully-shown love he has for his two brothers. It is one of the most tender brother relationships one will find on the screen and clearly the heart of the entire movie.

The mystery and plot-turns are much more hit-and-miss than the relationships. Some are well-conceived and timely unveiled, but others make one scratch his head and wonder what was the point of that? One wonders if too much was left on the cutting room floor or if the movie was dumped into video stores with little thought.

Such instances include the dramatic recognition by the mail-carrier of the police patrolman that leads to ... nothing. In fact, the mail-carrier's role seems to be too large for such little payoff. And what is the point of the forced-statements at gunpoint by Mrs. Knight?

Overall, the role of the police in the movie is the least-developed. Various implications are made in vague, unfulfilled ways. Are the police attempting a cover-up or are they simply negligent in their investigation? And why all the time spent on Nate Carr's attempt to get in on more action at the police department?

Little Boy Blue has more flaws than one would like, but it so perfectly handles the complicated relationships at the center of the story that you can't help but love this movie. It will at once move you to tears of sorrow, fits of empathetic anger, and hopes of peaceful love.

A warning, though; this movie is full of sex and is worse in that regard than most R-movies. However, this is central to the plot and not superfluous.

Here is the irony: many go to see Phillippe's body in cheaper, low-brow movies. They will likely miss this one-- which surely shows more of Phillippe than any of his others-- but which for the first time shows the possibility of a coming actor. And, in at least my opinion, finally puts Phillippe in a quality movie-- one you won't soon forget.

Rating:8

The primary problem with most non-mainstream films is that they fail to adhere to some of the basic cinematic elements that make films work. True, they are often interesting and provocative, but they fail in the larger sense that the film itself (not just the subject matter or content) fails to succeed for viewers.

That is not the case with "Little Boy Blue." For once, a novel premise and provocative content combine in a well-written screenplay that leaves the viewer fulfilled instead of disappointed. This film far exceeded my expectations in all areas, including the believable yet powerful acting in all of the major characters.

My major problem with the film was that the early part of the film didn't deal with (or even allude to) the overriding premise that really comes to light in the final third of the film. Additionally, the Doris Knight characterization seemed a bit unstable and her motivation in the final scenes is hard to pin down.

Still, a highly recommended film.

We were still talking about this three days after seeing it. So many questions are left unanswered that it is easy to see why studio executives chickened out and didn't hype this as a major theatrical release: they probably decided that Little Boy Blue it is too challenging to the "lowest common denominator" mindset which THEY have created among American movie-goers.

One wonders if Alfred Hitchcock's The Birds would have been released by an American studio nowadays; we think probably not -- some idiot would think that American audiences wouldn't understand, appreciate or care to see a movie which leaves ANY questions unanswered at the end, let alone one which leaves open as many questions as does Little Boy Blue.

Bah! Make a challenging movie and the audience will rise to meet the challenge. Little Boy Blue surely ranks among the most intellectually challenging movies of all time; decades from now film students will probably be writing dissertations about the cryptic symbolism of the book kept in the clothesline pole or the name of Jimmy's dog! This is not to suggest that the movie is an all-time great, but it certainly works on many more levels than that of Ryan Phillippe humping someone in the station wagon.

A Ryan Phillippe movie which forces the viewer to think! No wonder he found it so challenging: directors have had him playing blond pretty boys for so long that he probably had a difficult time portraying a character who is as savvy and insightful as he himself is in real life.

Little Boy Blue is a drama set in a small town in southern USA. You will recognize the landscape and the usual sleazy bar. But there it'll stop.

It the center of the story stands Jimmy who is going to move away from his father he doesn't get along with (and even doesn't know.), his mother that he's very attached to. And his two younger brothers that he's in many ways a guardian to.

That are really good performances in this film, not only from the three leads. Jimmy's brothers are very impressive, I think it's quite unusual to see child actors in American films to act this natural.

It's really nice to have Nastassja Kinski back as a big name again, so she can show what a talented actress she is.

John Savage, who's career in many ways is reminiscent of Kinski's, does a performance somewhere between Marlon Brando and Gary Busey.

(Note: Kinski and Savage also acted together in _Maria's Lovers (1984_(qv).)

A brilliant job of tying together a complicated group of characters. Ryan Phillippe was brilliant and for his age shows great talent. The approach to each and every delicate situation was handled with tact and tastefully clarified at just the right moment.