The 1970 classic "Joe" owes a lot to the performances of its leading actors, especially Peter Boyle in his star-making turn in the title role. Joe is a blue collar bigot; he's actually pretty democratic about it, as he seems to hate all those who are "different" equally. He makes the acquaintance of Bill Compton (Dennis Patrick), a well-off advertising executive who's just accidentally killed the drug pushing boyfriend (Patrick McDermott) of his young daughter Melissa (Susan Sarandon, in her film debut). Joe figures out that Bill is a killer, but even armed with this knowledge, he doesn't exactly blackmail Bill. Rather, he thinks he's found a kindred spirit, somebody who despises hippies as much as he does. The result is an uneasy sort of relationship that forms the crux of the movie, as it develops. Bill isn't as angry a man as Joe, but he does find him to be an interesting individual.
The way that a few separate worlds, and worldviews, collide, makes for good entertainment in this effort from screenwriter Norman Wexler and director John G. Avildsen. The generation gap provides further conflict, and seeing Joe and Bill eventually immerse themselves in the hippie universe is no less than fascinating. (The two of them do so as a means of searching for Melissa, who's run away.) They try to prove to each other how well they can adapt to this kind of lifestyle, including taking hits from a bong. Naturally, it isn't long before Joe is reminded of just how much he loathes hippies when he and Bill are robbed, and he spurs the increasingly distressed Bill on to a violent revenge - and a devastating conclusion.
Described in many reviews here as an even more volatile version of Archie Bunker, Boyles' Joe is a true force of nature, and the actor is so good in the role that he basically makes the movie. The other actors (such as Audrey Caire as Bills' wife and K. Callan as Joes' wife) are fine, and Boyle and Patrick do work well together.
A film very much of its time, "Joe" is a well paced drama that is definitely worth a viewing. It's likely to stick in peoples' minds after it's over.
Eight out of 10.
The way that a few separate worlds, and worldviews, collide, makes for good entertainment in this effort from screenwriter Norman Wexler and director John G. Avildsen. The generation gap provides further conflict, and seeing Joe and Bill eventually immerse themselves in the hippie universe is no less than fascinating. (The two of them do so as a means of searching for Melissa, who's run away.) They try to prove to each other how well they can adapt to this kind of lifestyle, including taking hits from a bong. Naturally, it isn't long before Joe is reminded of just how much he loathes hippies when he and Bill are robbed, and he spurs the increasingly distressed Bill on to a violent revenge - and a devastating conclusion.
Described in many reviews here as an even more volatile version of Archie Bunker, Boyles' Joe is a true force of nature, and the actor is so good in the role that he basically makes the movie. The other actors (such as Audrey Caire as Bills' wife and K. Callan as Joes' wife) are fine, and Boyle and Patrick do work well together.
A film very much of its time, "Joe" is a well paced drama that is definitely worth a viewing. It's likely to stick in peoples' minds after it's over.
Eight out of 10.