Joe

In this truly unique and penetrating movie that both personifies a culture clash and its inherent differences,the viewer gets a first hand look at the late 60's,early 70's and what they stood for.A drastic change in the way people dressed,wore hair,talked and thought.A mindset of differing views amongst the populace.The establishment vs. the Hippies.For within this movie are more than just characterizations,but more specifically,an outlook on life,war,habits,religion and peace. The main focal point and protagonist {JOE} is an unworldy blue collar stiff,who's fierce loyalty to flag and country is aptly on display in his basement,being a showcase of sorts for his gun collection,war memorabilia and medals.Living in a simple neighborhood with clone together housing and working in a factory,his life is relagated to wife's ordinary meatloaf with plenty of ketchup,beer at local bar and more beer at home and in basement ,of course.A rather humdrum existance,except for his views on many a topic of late - war,peace and them Hippies.And of course the blacks.Couldn't be a good bigot without mentioning and uttering the N word as vociferously and with such ease of authority as our rude and crude lead character.Yet,for all his apparent character flaws,I was drawn too.He was the genuine article and real character of sorts. Enter the Hippie element in the form of Susan Sarrandon and very authentic-looking Hippie boyfriend and their pad.Living in the village and surrounded by all kinds of Hippieish stuff like candles,tie-dye sheets and of course plenty of hippie clothes and long hair.Their a couple of drug-induced pushers{heroine habit} who look and act the part with authority.Slacking their way thru society and on the nerves of upper class white-collar father Dennis Patrick,who finds comfort and kindship with JOE as the two battle them Hippies,as Sarandon flees the scene to escape her strong-willed and establishment father.So Joe and father have a twofold mission;to find his daughter,and kick a little Hippie butt ,while on trail. The village hunt is exciting and takes me back to my early hippie days,hanging around those hippie places{every big city had a village of sorts}.which were nicely photographed.The movie has a certain air of conscienceness and feel for the early peace movement and its supporters and detractors.As the viewer becomes more and more acquainted with Joe and new buddy {white-collar Patrick},we witness a tour of mind and manners,both alcohol and drug fueled for culture clash and intensified search on meaning and lifestyle of the times.Absolutely,one of the best movies to show disparate view on the subject of clashing generations With an unorthodox ending and stark realization of denouement,this is a truly unique and compelling tale of society as it was unravelling before a generations eyes. 5 out of 5 star or 10/10 for brilliant story of mores and manners ,circa late 60's.Dig Daddio

Bill Compton is a wealthy, conservative advertising executive who would be living the traditional American dream were it not for one thing: his daughter is a hippie. She and her boyfriend spend their days doing drugs and wasting time. After she overdoses, Compton accidentally kills the boyfriend in a fit of rage. Later he meets Joe, an ultra-right-wing blue-collar worker, and drunkenly tells the man his murderous secret. Joe believes he's found a kindred spirit in Compton and the two form an unlikely friendship. However, Joe's virulent hatred for anything and anyone liberal makes both men's lives increasingly complicated, violent and dangerous.

Directed by John G. Avildsen, 'Joe' is a character study and a drama about evolving cultural mores, highlighting the ideological schism that emerged between generations following the counter-culture revolution of the 60's. Norman Wexler's screenplay is sharp and full of fantastic, grittily realistic dialogue. It is unhampered by bias, scathing of both old school conservatism and the 'free love' attitude of the hippie movement alike- not to mention political extremism and classism. While the story contains moments of violence and can be a tad melodramatic from time to time, at its' heart it's a clever, subtle examination of two multi-faceted, realistic characters.

Compton and Joe are disillusioned by a society in which they no longer feel comfortable. As many were at the time, they are threatened by the hedonistic lifestyle the youth of the film embody. However, they are also strangely attracted to it. Compton and Joe want to partake in the 'free love' but can't allow themselves to because of their deeply held conservative beliefs. Thus, they are left out in the cold so to speak, and their violent reaction to their uncertain place in the 'modern' world seems like a foregone conclusion from the beginning of the film because of the strength of Wexler's characterization.

Having said that, the supporting characters are all a little hollow and underwritten in comparison to Compton and Joe, most notably Compton's daughter, played by Susan Sarandon in her big screen debut. She comes across like a parody of a hippie, the kind you'd see dancing in the background of a Peter Sellers' farce from the 60's- or perhaps even one of the 'Austin Powers' films. What makes it all the worse is the fact that Sarandon is completely stilted, wooden and lacking in charisma. Though in a few years she'd start giving the powerful, nuanced performances she's known for today, it's a wonder her awfully mediocre work in 'Joe' didn't derail her career just as it was beginning.

On the positive side of things, 'Joe' features an atmospheric original soundtrack from Bobby Scott that makes good use of songs from the likes of Exuma and Dean Michaels. Michaels 'Hey Joe' is particularly memorable, with lyrics reflecting the narrative beats of the film, as well as the ideology of the titular character. Besides directing, Avildsen also acted as cinematographer and his work has a naturalistic quality that is most affecting. The film is also very well-edited, having a brisk pace that makes Compton and Joe's journey to the dark side all the more exhilarating and frantic.

Dennis Patrick stars as Compton, delivering a performance of style and subtlety. Not as colorful or as openly bigoted as the titular character, Compton is nevertheless a complicated person with darkness in his soul, a man capable of extreme violence. Patrick couldn't have been better in the role, bringing to it much depth and intelligence. He makes Compton sympathetic- which is no mean feat considering the actions the character takes in the film- and he and co-star Peter Boyle work together marvelously.

Always a reliable actor, Boyle is brilliant as the bigoted blue-collar worker Joe. While not a likable character by any means, Boyle imbues Joe with a certain seedy charm and complexity that is intensely interesting and effective. He plays Joe as a regular man whose perception of reality is skewed by his political inclination, as one who can't see the truth from behind a blinding veil of conservative dogmatism. Boyle's assured performance is a joy to behold, and one can tell that he understood the character's motivations perfectly.

In short, John G. Avildsen's 'Joe' is a powerful and clever parable about bigotry, principles and violence boasting a fine Norman Wexler screenplay and a great soundtrack from Bobby Scott. Dennis Patrick and Peter Boyle deliver two fascinating, impactful performances of great depth and complexity that are highlights in both men's filmographies. Although the supporting characters are a little underwritten- and some questionably acted- 'Joe' is a terrific movie that has only gotten more relevant and entertaining with time.

An odd thing about the movie is that no one comes off very sympathetically. That goes for life styles as well, whether working class, upper class, or hedonistic hippie. Everyone's compartmentalized and disdainful of non-peers. Of course, the movie's crux lies in working class Joe's (Boyle) alliance with white-collar Bill (Patrick) over their mutual hatred of hippies. And that's following Bill's pivotal murder of his daughter's drug dealer boyfriend.

The movie was much talked about at the time. After all, the hippie movement was widely seen and heard on America's airways, but not so working class America's reaction. For guys like Joe, it seemed everybody was making social progress except for working class white males. Plus, pot-smoking kids were doing things that beer swilling blue-collar guys could only dream about—free time, free sex, few responsibilities. Worse, these kids were insulting the nation's traditions, the very ones that afforded them the luxuries they enjoy.

The movie may exaggerate some, but the nub of Joe's hatred of those he thinks are ruining the country is on the mark. (Then too, I suspect a similar sentiment lives on in today's Tea Party, though not as pronounced.) The movie also suggests the potential of a broader cross- class reaction. Significantly, Joe's working class anger eventually spreads to white-collar Bill, as together they make war on what they see as a youthful parasitic class. To me, the movie's really about the emerging crisis of the Vietnam era, concerning not only who will shape the nation's present, but its future as well. Now, after 50-years, the hippie movement may have vanished, but the animus against minorities and others regarded as not fully American remains a potent force. The movie may have aged, but this aspect hasn't.

In passing-- note in the movie how the feminist movement has yet to have impact. Thus uppity women are not included in Joe's long list of cultural evildoers. Still, it's entertaining to wonder how Joe and especially his dutiful wife would react to housewives desiring more options.

The movie itself has a number of memorable scenes. I especially like it when our two crusaders guzzle booze while denouncing pot-smoking kids. Then too, Joe's barroom tirade came at a time when audiences were not used to such uncensored explicitness as gutter obscenities and hateful ethnic slurs. Thus Boyle's fiercely delivered rant was spellbinding at the time, and I suspect still is. But most of all is that subtle sequence of Joe and Mary Lou (Callan) sharing an awkward evening with their social betters Bill and Joan (Caire). What a masterpiece of staging, scripting and performance. It's almost wrenching to watch the two wives try to deal with the class barriers separating them once they've been thrown unceremoniously together. Caire is especially meaningful as she betrays hardly a hint of what she's really thinking, while the eager Mary Lou does her best to please. Yet every time the housewifely hostess does something agreeable, Joe steps on it with an uncaring remark. Comparisons with TV's Edith Bunker and All in the Family (1971-1979) do hit the mark.

It's easy to deride Joe's unabashed vulgarity. Still, he's always straightforward about what he thinks. No guess-work there, unlike the white-collar guy who plays up to him once he thinks Joe's going to be his new boss. Plus, Joe works hard at a demanding foundry job. In short, he's that average joe who does the sometimes dirty work that keeps the nation running. In that key regard he deserves respect, maybe not for everything he thinks, but surely for what he does. And maybe if hard working guys like him got more respect for what they do, they wouldn't be so ready to take frustrations out on others. To me, that's one of the most important issues raised in a movie that's as relevant today as 50-years ago when I first saw it.

Wealthy businessman Bill Compton (played by Dennis Patrick) accidentally kills his daughter's hippie boyfriend after an argument. Panic-stricken, he retreats to a bar, and meets Joe Curran (played by Peter Boyle): a loud-mouth, angry, bigot who is bitter over how his beloved country has become. Unintentionally, Bill allows Joe to find out that he just killed a hippie. And this is only the beginning. "Joe" is a classic film of an unlikely friendship. A bond between two men, one of a white-collar background, the other of a blue-collar background. Bill & Joe have one thing in common, they are disgraced over how crazy the world has become. Dennis Patrick & Peter Boyle have both given very realistic portrayals of their characters. Director John G. Avidsen with this "pre-Rocky" effort, directs this low-budget gem with the same finesse as a movie with a $100 million budget. The script is loaded with excellent character development and very snappy, realistic dialog. In spite of its strengths this film does have its weaknesses. The script falls asleep roughly 3/4 of the way through, but it wakes up just in time for the jarring climax. This film also features a very early and uninspiring performance by a 24-year old Susan Sarandon as Bill's daughter Melissa, along with her hippie boyfriend Frank, portrayed very blandly by Patrick Mc Dermott. One could only be thankful that he was killed off early in the film. In spite of its few flaws this is one of those forgotten films of the 70's that should not be. Even though "Joe" is very dated to today's standards, the chemistry between Dennis Patrick & Peter Boyle is completely relevant today, and it is the glue that holds the whole film together.

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.