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{{Short description|1970 American drama film directed by John G. Avildsen}}
{{Short description|1970 American drama film directed by John G. Avildsen}}
{{Distinguish|Crazy Joe (film)}}
{{Distinguish|Joe (2013 film)|Crazy Joe (film)}}
{{Use mdy dates|date=September 2023}}
{{Use mdy dates|date=September 2023}}
{{Infobox film
{{Infobox film
Line 14: Line 14:
| cinematography = John G. Avildsen
| cinematography = John G. Avildsen
| editing = George T. Norris
| editing = George T. Norris
| distributor = [[Cannon Group]]<ref name=PM>{{cite web|work=[[PopMatters]]|title=From the Zombie Hoards to the Successfully Bankrupt: The First Year of 'The Next Reel'|first=J.C.|last=Maçek III|date=2 August 2013|url=https://www.popmatters.com/pm/column/173588-a-year-in-the-life-of-the-next-reel-revisiting-the-first-twelve-colu/}}</ref>
| distributor = [[Cannon Group]]<ref name=PM>{{cite web |website=[[PopMatters]] |title=From the Zombie Hoards to the Successfully Bankrupt: The First Year of 'The Next Reel' |first=J.C. |last=Maçek III |date=August 2, 2013 |url=https://www.popmatters.com/pm/column/173588-a-year-in-the-life-of-the-next-reel-revisiting-the-first-twelve-colu/ |archive-url=https://web.archive.org/web/20130807055453/http://www.popmatters.com/pm/column/173588-a-year-in-the-life-of-the-next-reel-revisiting-the-first-twelve-colu/ |archive-date=August 7, 2013 |access-date=December 7, 2024}}</ref>
| released = {{Film date|1970|07|15}}
| released = {{Film date|1970|07|15}}
| runtime = 107 minutes
| runtime = 107 minutes
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| language = English
| language = English
| budget = $106,000
| budget = $106,000
| gross = $19,319,254<ref name="box office">{{cite web|url=https://www.the-numbers.com/movies/1970/0JOE.php|publisher=[[The Numbers (website)|The Numbers]]|title=Box Office Information for ''Joe''|access-date=May 19, 2012}}</ref><ref name="mojo">{{Cite web|url=https://boxofficemojo.com/movies/?id=joe.htm|publisher=[[Box Office Mojo]]|title=Box Office Information for ''Joe''|access-date=May 19, 2012}}</ref> or $9.5 million<ref>{{Cite book|url=https://archive.org/details/americanfilmdist0000dona/page/291/mode/1up|title= American film distribution : the changing marketplace|last=Donahue|first= Suzanne Mary|year=1987 |publisher=UMI Research Press |page=291}} Please note figures are for rentals in US and Canada</ref>
| gross = $19,319,254<ref name="box office">{{cite web |url=https://www.the-numbers.com/movies/1970/0JOE.php |publisher=[[The Numbers (website)|The Numbers]] |title=Box Office Information for ''Joe'' |access-date=May 19, 2012}}</ref><ref name="mojo">{{Cite web |url=https://boxofficemojo.com/movies/?id=joe.htm |publisher=[[Box Office Mojo]] |title=Box Office Information for ''Joe'' |access-date=May 19, 2012}}</ref> or $9.5 million<ref>{{Cite book |url=https://archive.org/details/americanfilmdist0000dona/page/291/mode/1up |title=American film distribution : the changing marketplace |last=Donahue |first=Suzanne Mary |year=1987 |publisher=[[University of Michigan Press|UMI Research Press]] |page=291}} Please note figures are for rentals in US and Canada</ref>

}}
}}


'''''Joe''''' is a 1970 American [[Drama (film and television)|drama film]] written by [[Norman Wexler]] and directed by [[John G. Avildsen]]. It stars [[Peter Boyle]], [[Dennis Patrick]], and [[Susan Sarandon]] in her film debut.<ref>Nystrom, Derek (2004), "Hard Hats and Movie Brats: Auteurism and the Class Politics of the New Hollywood", ''Cinema Journal'', Vol. 43, no. 3, pp. 18–41.</ref><ref>{{cite book|last=Perlstein|first=Rick|author-link=Rick Perlstein|title=[[Nixonland: The Rise of a President and the Fracturing of America]]|year=2008|publisher=Simon and Schuster|isbn=978-0-7432-4302-5}}</ref>
'''''Joe''''' is a 1970 American [[Drama (film and television)|drama film]] written by [[Norman Wexler]] and directed by [[John G. Avildsen]]. It stars [[Peter Boyle]], [[Dennis Patrick]], and [[Susan Sarandon]] in her film debut.<ref>{{cite journal |last=Nystrom |first=Derek |date=2004 |title=Hard Hats and Movie Brats: Auteurism and the Class Politics of the New Hollywood |journal=Cinema Journal |volume=43 |number=3 |pages=18–41}}</ref><ref>{{cite book |last=Perlstein |first=Rick |author-link=Rick Perlstein |title=[[Nixonland: The Rise of a President and the Fracturing of America]] |year=2008 |publisher=[[Simon & Schuster]] |isbn=978-0-7432-4302-5}}</ref>


The film follows New York business executive Bill Compton as his life unravels into murderous chaos after he kills his daughter's drug-dealing boyfriend and enters into a peculiar partnership with factory worker Joe, a veteran with racist fantasies of vigilante violence. Their search for Compton's missing daughter leads to a raid on a [[hippie commune]] that turns into mass murder where Compton mistakenly shoots his own daughter.
The film follows New York business executive Bill Compton as his life unravels into murderous chaos after he kills his daughter's drug-dealing boyfriend and enters into a peculiar partnership with factory worker Joe, a veteran with racist fantasies of vigilante violence. Their search for Compton's missing daughter leads to a raid on a [[hippie commune]] that turns into mass murder where Compton mistakenly shoots his own daughter.


The film's plot coincidentally resembled a real-life mass murder in [[Detroit]], where the killer had killed his own daughter. The real-life killer gained publicity for his actions, and received letters of support by hundreds of parents. The film has received praise for its [[black comedy]]-style satire of [[social class]].
The film's plot coincidentally resembled a real-life mass murder in [[Detroit]], where the killer had killed his own daughter. The real-life killer gained publicity for his actions, and received letters of support from hundreds of parents. The film has received praise for its [[black comedy]]-style satire of [[social class]].


==Plot==
==Plot==
Advertising executive Bill Compton, his wife Joan, and daughter Melissa are a wealthy family living in [[New York City|New York]]'s [[Upper East Side]]. Melissa has been living with her drug-dealing boyfriend. After Melissa [[drug overdose|overdoses]] and is sent to a hospital, Compton goes to her boyfriend's apartment to get her clothes. He confronts and kills the boyfriend in a fit of rage. At a nearby bar he hears factory worker Joe Curran ranting about how he hates [[hippie]]s, and Compton blurts out that he just killed one. Joe reacts favorably, but Compton says it was a joke.
Advertising executive Bill Compton, his wife Joan, and daughter Melissa are a wealthy family in [[New York City]]'s [[Upper East Side]]. Melissa has been living with her drug-dealing boyfriend. After Melissa [[drug overdose|overdoses]] and is sent to a hospital, Compton goes to her boyfriend's apartment to get her belongings. He confronts and kills the boyfriend in a fit of rage. To disguise the act as a robbery, Compton takes a bag full of drugs with him and stashes it in his car. To calm his nerves, he has a drink in a nearby bar, where he hears factory worker Joe Curran ranting about how he hates [[hippie]]s. Compton blurts out that he just killed one. Joe reacts favorably, but Compton says it was a joke.


A few days later, Joe sees a news report about a drug dealer found slain a few blocks from the bar. He calls Compton and meets him. At first Compton is wary that Joe may be attempting [[blackmail]], but Joe assures him that he admires Compton for killing the drug dealer. They become friends, and Compton and his wife have dinner at Joe's house with his wife. Melissa escapes from the hospital and returns to the family apartment, where she overhears her father discussing the murder. She storms out of the apartment house, saying to Compton, "What are you gonna do, kill me too?" Compton tries to restrain her, but she breaks away.
A few days later, Joe sees a news report about a drug dealer found slain a few blocks from the bar. He calls Compton and meets him. At first Compton is wary that Joe may be attempting [[blackmail]], but Joe assures him that he admires Compton for killing the drug dealer. As the men drink together, they find a rapport despite Compton's initial unease. A few days later, Compton and his wife have an awkward dinner at Joe's house with his wife, and Joe shows Compton his gun collection.


Melissa escapes from the hospital and returns to the family apartment, where she overhears her parents discussing the murder. She confronts her father saying, "What are you gonna do, kill me too?" Compton tries to restrain her, but she breaks away.
⚫
Joe and Compton search for her, and meet a group of hippies at a bar in downtown [[Manhattan]]. They join the hippies at an apartment, where the hippies share their drugs and girlfriends with the pair. They then abscond with drugs brought by Compton, which he had taken from the drug dealer, as well as Joe's and Compton's wallets. Joe beats one of the girls until she tells him that their boyfriends often spend time in an [[Upstate New York|upstate]] [[Intentional community|commune]]. Joe and Compton drive to that commune, with Joe bringing rifles. In a confrontation at the commune, Joe and Compton kill all the hippies there, and Compton unwittingly kills his own daughter.

⚫
Joe and Compton search for her in the streets and meet a group of hippies at a bar in downtown [[Manhattan]]. When Compton tells the hippies he has drugs, they are invited to the hippies' apartment, where they all take drugs and the girls have sex with Compton and Joe. The boys then abscond with Compton's bag of drugs as well as Joe's and Compton's wallets. Joe beats one of the girls until she tells him that their boyfriends often spend time in an [[Upstate New York|upstate]] [[Intentional community|commune]]. Joe and Compton drive to the commune, with Joe bringing rifles. In a confrontation at the commune, Joe starts shooting the hippies and urges Compton to join him. When Compton finally does so, he unwittingly kills his own daughter.


==Cast==
==Cast==
Line 46: Line 47:
* Patrick McDermott as Frank Russo
* Patrick McDermott as Frank Russo


==Reception and legacy==
==Reception==
The film has garnered both critical acclaim and box office success. Produced on a budget of only $106,000,{{citation needed|date=February 2021}} it was a [[sleeper hit]] and grossed over $19.3 million in the United States and Canada,<ref name="box office"/><ref name="mojo"/><ref>{{cite magazine|title=Ernie Sands Slant: Let 'Joe' Arrive As Surprise Item|magazine=[[Variety (magazine)|Variety]]|date=September 23, 1970|page=6}}</ref> making it the [[1970 in film|13th highest-grossing film of 1970]]. On review aggregator [[Rotten Tomatoes]], it holds an 82% "Fresh" score based on 11 reviews, with an average rating of 6.6/10.<ref>{{Cite web |title=Joe |url=https://www.rottentomatoes.com/m/joe/ |access-date=July 10, 2023 |website=[[Rotten Tomatoes]] |publisher=[[Fandango Media]]}}</ref> [[Norman Wexler]]'s screenplay received an [[Academy Awards|Oscar]] nomination for [[Academy Award for Best Writing (Original Screenplay)|Best Original Screenplay]].<ref name=LT>{{cite web|work=[[The Los Angeles Times]]|title=Norman Wexler; Oscar-Nominated Writer|date=August 26, 1999|first=Myrna|last=Oliver|url=https://www.latimes.com/archives/la-xpm-1999-aug-26-mn-4343-story.html}}</ref>
The film garnered both critical acclaim and box office success. Produced on a budget of only $106,000,{{citation needed|date=February 2021}} it was a [[sleeper hit]] and grossed over $19.3 million in the United States and Canada,<ref name="box office"/><ref name="mojo"/><ref>{{cite magazine |title=Ernie Sands Slant: Let 'Joe' Arrive As Surprise Item |magazine=[[Variety (magazine)|Variety]] |date=September 23, 1970 |page=6}}</ref> making it the [[1970 in film|13th highest-grossing film of 1970]]. On review aggregator [[Rotten Tomatoes]], it holds an 82% "Fresh" score based on 11 reviews, with an average rating of 6.6/10.<ref>{{Cite web |title=Joe |url=https://www.rottentomatoes.com/m/joe/ |access-date=July 10, 2023 |website=[[Rotten Tomatoes]] |publisher=[[Fandango Media]]}}</ref>


⚫
''[[Variety (magazine)|Variety]]'' wrote, "It sounds like heavy stuff, but scripter Norman Wexler has fleshed his serious skeleton with both melodrama plotting that sustains interest and the grittiest, most obscene dialog yet to boom from the silver screen. It works."<ref>{{cite magazine |title=Film Reviews: Joe |magazine=[[Variety (magazine)|Variety]] |date=July 15, 1970 |page=14}}</ref> [[Howard Thompson (film critic)|Howard Thompson]] of ''[[The New York Times]]'' wrote, "The sad, disappointing thing about 'Joe' is that a devastating, original idea cynically slopes into a melodramatic, surface fiasco."<ref>{{cite news |last=Thompson |first=Howard |author-link=Howard Thompson (film critic) |date=July 16, 1970 |title='Joe,' an East Village Tale, Arrives |newspaper=[[The New York Times]] |page=40}}</ref> [[Gene Siskel]] of the ''[[Chicago Tribune]]'' gave the film three-and-a-half stars out of four and called it "a landmark film because of the issues and social norms it justifies. It is a dramatic, if not always sophisticated, documentary of a growing portion of the national mentality."<ref>{{cite news |last=Siskel |first=Gene |author-link=Gene Siskel |date=August 21, 1970 |title=Movie Review: Joe ***½ |newspaper=[[Chicago Tribune]] |page=15}}</ref>
⚫
[[Quentin Tarantino]] wrote in his book ''[[Cinema Speculation]]'' that ''Joe'' is "a kettle-[[black comedy]] about class in America, bordering on satire", and said that although contemporary viewers may find it controversial to call the film a black comedy, he recalled that the audience he saw the film with in 1970, in a [[double feature]] with [[Carl Reiner]]'s ''[[Where's Poppa?]]'', watched the first section of ''Joe'' in silence, only to begin laughing "once Dennis Patrick enters the tavern, and Peter Boyle's Joe enters the movie", having gone from "repulsed repose to outright hilarity". Tarantino says that "Boyle's comedic performance alleviates the picture's one-note ugliness".<ref>{{cite book |last=Tarantino|first=Quentin|author-link=Quentin Tarantino |date=November 2022 |title=Cinema Speculation |chapter=Little Q Watching Big Movies |publisher=HarperCollins |pages=4–5 |isbn=9780063112599}}</ref>


⚫
[[Charles Champlin]] of the ''[[Los Angeles Times]]'' called it "an immensely sophisticated piece of film-making," adding, "The plot is laced with implausibilities and the movie full of scenes which are heavily contrived but which play well because they are swept along by the plausibility of Joe himself."<ref>{{cite news |last=Champlin |first=Charles |author-link=Charles Champlin |date=September 24, 1970 |title=Hatred Seethes in 'Joe' |newspaper=[[Los Angeles Times]] |page=12}}</ref> Gary Arnold of ''[[The Washington Post]]'' called it "a fascinating, tendentious picture—a topical murder melodrama and social parable, done in that vivid, loaded, paranoid style which seems to have become a tradition in record time but which remains exciting to watch, even if you question the drift and outcome of the parable."<ref>{{cite news |last=Arnold |first=Gary |date=August 20, 1970 |title=Parable of 'Joe' |newspaper=[[The Washington Post]] |page=C1}}</ref> [[Penelope Gilliatt]] of ''[[The New Yorker]]'' wrote, "In the end, 'Joe' sells us short. It shows us clashing archetypes, promises us something of large mind, and then stammers platitudes that lead theatrically every which way."<ref>{{cite magazine |last=Gilliatt |first=Penelope |author-link=Penelope Gilliatt |date=August 15, 1970 |title=The Current Cinema |magazine=[[The New Yorker]] |page=66}}</ref>
⚫
''[[Variety (magazine)|Variety]]'' wrote, "It sounds like heavy stuff, but scripter Norman Wexler has fleshed his serious skeleton with both melodrama plotting that sustains interest and the grittiest, most obscene dialog yet to boom from the silver screen. It works."<ref>{{cite magazine|title=Film Reviews: Joe|magazine=[[Variety (magazine)|Variety]]|date=July 15, 1970|page=14}}</ref> [[Howard Thompson (film critic)|Howard Thompson]] of ''[[The New York Times]]'' wrote, "The sad, disappointing thing about 'Joe' is that a devastating, original idea cynically slopes into a melodramatic, surface fiasco."<ref>Thompson, Howard (July 16, 1970). "'Joe,' an East Village Tale, Arrives". ''[[The New York Times]]''. 40.</ref> [[Gene Siskel]] of the ''[[Chicago Tribune]]'' gave the film three-and-a-half stars out of four and called it "a landmark film because of the issues and social norms it justifies. It is a dramatic, if not always sophisticated, documentary of a growing portion of the national mentality."<ref>Siskel, Gene (August 21, 1970). "Movie Review: Joe ***½". ''[[Chicago Tribune]]''. Section 2, p. 15.</ref>


[[Norman Wexler]]'s screenplay received an [[Academy Awards|Oscar]] nomination for [[Academy Award for Best Writing (Original Screenplay)|Best Original Screenplay]].<ref name=LT>{{cite web |work=[[The Los Angeles Times]] |title=Norman Wexler; Oscar-Nominated Writer |date=August 26, 1999 |last=Oliver |first=Myrna |url=https://www.latimes.com/archives/la-xpm-1999-aug-26-mn-4343-story.html}}</ref>
⚫
[[Charles Champlin]] of the ''[[Los Angeles Times]]'' called it "an immensely sophisticated piece of film-making," adding, "The plot is laced with implausibilities and the movie full of scenes which are heavily contrived but which play well because they are swept along by the plausibility of Joe himself."<ref>Champlin, Charles (September 24, 1970). "Hatred Seethes in 'Joe'". ''[[Los Angeles Times]]''. Part IV, p. 12.</ref> Gary Arnold of ''[[The Washington Post]]'' called it "a fascinating, tendentious picture—a topical murder melodrama and social parable, done in that vivid, loaded, paranoid style which seems to have become a tradition in record time but which remains exciting to watch, even if you question the drift and outcome of the parable."<ref>Arnold, Gary (August 20, 1970). "Parable of 'Joe'". ''[[The Washington Post]]''. C1.</ref> [[Penelope Gilliatt]] of ''[[The New Yorker]]'' wrote, "In the end, 'Joe' sells us short. It shows us clashing archetypes, promises us something of large mind, and then stammers platitudes that lead theatrically every which way."<ref>Gilliatt, Penelope (August 15, 1970). "The Current Cinema". ''[[The New Yorker]]''. 66.</ref>


==Legacy==
When Peter Boyle saw audience members cheering the violence in ''Joe'', he refused to appear in any other film or television show that glorified violence. This included the role of [[Jimmy "Popeye" Doyle]] in ''[[The French Connection (film)|The French Connection]]'' (1971). The role would earn [[Gene Hackman]] the [[Academy Award|Oscar]] for [[Academy Award for Best Actor|Best Actor]]. Boyle nevertheless played a ruthless gangster in 1973's ''[[The Friends of Eddie Coyle]]'' and in 1974's ''[[Crazy Joe (film)|Crazy Joe]]'' (not a sequel) and a not-so-ruthless gangster in the comedy ''[[Johnny Dangerously]]''. He also appeared in the violent drama ''[[Taxi Driver]]''. ''Joe'' inspired the creation of other tough, working class characters in 70s films and TV shows, including the character of [[Archie Bunker]] on the TV show ''[[All in the Family]]''.<ref name=NY/>
When Boyle saw audience members cheering the violence in ''Joe'', he refused to appear in any other film or television show that glorified violence. This included passing on the role of [[Jimmy "Popeye" Doyle]] in ''[[The French Connection (film)|The French Connection]]'' (1971), which would earn [[Gene Hackman]] the [[Academy Awards|Oscar]] for [[Academy Award for Best Actor|Best Actor]]. Boyle nevertheless played a ruthless gangster in 1973's ''[[The Friends of Eddie Coyle]]'' and in 1974's ''[[Crazy Joe (film)|Crazy Joe]]'' (not a sequel), and a not-so-ruthless gangster in the 1984 comedy ''[[Johnny Dangerously]]''. He also appeared in the violent 1976 drama ''[[Taxi Driver]]''. ''Joe'' inspired the creation of other tough, working class characters in '70s films and TV shows, including the character of [[Archie Bunker]] on the TV show ''[[All in the Family]]''.<ref name=NY>{{cite news |newspaper=[[The New York Times]] |title=FILM; Off the Hippies: 'Joe' and the Chaotic Summer of '70 |first=J. |last=Hoberman |author-link=J. Hoberman |date=July 30, 2000 |url=https://www.nytimes.com/2000/07/30/movies/film-off-the-hippies-joe-and-the-chaotic-summer-of-70.html}}</ref>


In the 1980s, there were rumors that Peter Boyle might appear in a sequel to ''Joe''. ''Citizen Joe'', the sequel, would follow Joe as he tried to rebuild his life after spending 10 years in prison and would also deal with his grown up kids who held more liberal beliefs. [[Cannon Films]] periodically took out ads for unmade sequels to ''Joe''. In 1980, Cannon promised ''Joe II'' then, in 1985, announced the coming of ''Citizen Joe'': ''The times have changed but the man has not...He's back.''<ref name=NY>{{cite web|work=[[The New York Times]]|title=FILM; Off the Hippies: 'Joe' and the Chaotic Summer of '70|first=J.|last=Hoberman|date=July 30, 2000|url=https://www.nytimes.com/2000/07/30/movies/film-off-the-hippies-joe-and-the-chaotic-summer-of-70.html}}</ref> The film never materialized.<ref>{{cite web|work=[[The Guardian]]|title=Peter Boyle Scene-stealer who put on the Ritz as a monstrous foil to Young Frankenstein|first=Ronald|last=Bergan|date=14 December 2006|url=https://www.theguardian.com/news/2006/dec/15/guardianobituaries.usa}}</ref>
In the 1980s, there were rumors that Boyle might appear in a sequel to ''Joe''. ''Citizen Joe'' would have followed the titular character as he tried to rebuild his life after spending 10 years in prison, and would have also dealt with his grown children who held more liberal beliefs. [[Cannon Films]] periodically took out ads for unmade sequels to the film. Cannon promised ''Joe II'' in 1980, and in 1985 announced the coming of ''Citizen Joe'' with the tagline, "The times have changed but the man has not...He's back."<ref name=NY/> The film never materialized.<ref>{{cite news |newspaper=[[The Guardian]] |title=Peter Boyle Scene-stealer who put on the Ritz as a monstrous foil to Young Frankenstein |first=Ronald |last=Bergan |author-link=Ronald Bergan |date=December 14, 2006 |url=https://www.theguardian.com/news/2006/dec/15/guardianobituaries.usa}}</ref>


⚫
In his 2022 book ''[[Cinema Speculation]]'', [[Quentin Tarantino]] deemed ''Joe'' "a kettle-[[black comedy]] about class in America, bordering on satire", while conceding that contemporary viewers may find it controversial to classify the film as such. He recalled that the audience he saw the film with in 1970, in a [[double feature]] with [[Carl Reiner]]'s ''[[Where's Poppa?]]'', watched the first section of ''Joe'' in silence, only to begin laughing "once Dennis Patrick enters the tavern, and Peter Boyle's Joe enters the movie", having gone from "repulsed repose to outright hilarity". Tarantino observed that "Boyle's comedic performance alleviates the picture's one-note ugliness".<ref>{{cite book |last=Tarantino |first=Quentin |author-link=Quentin Tarantino |date=November 2022 |title=[[Cinema Speculation]] |chapter=Little Q Watching Big Movies |publisher=[[HarperCollins]] |pages=4–5 |isbn=9780063112599}}</ref>
===Accolades===
[[Norman Wexler]] was nominated for [[Academy Award for Best Original Screenplay|Best Original Screenplay]] at the [[43rd Academy Awards]].


==Real-life parallel==
==Real-life parallel==
Ten weeks before ''Joe'' was released in the United States, a real-life [[mass murder]] with similarities to the movie's climactic scenes occurred in [[Detroit]], [[Michigan]]. On May 7, 1970, a railroad worker named Arville Douglas Garland entered a university residence and killed his daughter, her boyfriend and two other students.<ref name="Star"/>
Ten weeks before ''Joe'' was released in the United States, a real-life [[mass murder]] with similarities to the movie's climactic scenes occurred in [[Detroit]], [[Michigan]]. On May 7, 1970, a railroad worker named Arville Douglas Garland entered a university residence and killed his daughter, her boyfriend and two other students.<ref name="Star">{{cite news |url=https://www.thestar.com/entertainment/2010/06/18/how_joe_and_patton_could_40_years_on_play_again_today.html |title=How Joe and Patton could, 40 years on, play again today |last=Pevere |first=Geoff |author-link=Geoff Pevere |newspaper=[[Toronto Star]] |date=June 18, 2010 |access-date=December 27, 2013}}</ref>


During pre-trial deliberations, Judge Joseph A. Gillis saw ''Joe'' and strongly advised both the prosecution and defense teams to do the same. He then carefully screened each member of the jury pool and excluded any who had seen the movie. He also forbade any seated juror from watching the movie or discussing it with anyone who had seen it.<ref name=T>[https://web.archive.org/web/20101030174513/http://www.time.com/time/magazine/article/0,9171,877135,00.html ''Time Magazine'', "Crime: Joe and Arville"] 07 December 1970. Accessed 2009-09-09.</ref> Although he brought with him multiple weapons and extra ammunition, Garland received a light sentence.<ref name="Star">{{cite news | url=https://www.thestar.com/entertainment/2010/06/18/how_joe_and_patton_could_40_years_on_play_again_today.html | title=How Joe and Patton could, 40 years on, play again today | work=Thestar.com | date=18 June 2010 | access-date=27 December 2013 | author=Pevere, Goeff}}</ref>
During pre-trial deliberations, Judge Joseph A. Gillis saw ''Joe'' and strongly advised both the prosecution and defense teams to do the same. He then carefully screened each member of the jury pool and excluded any who had seen the movie. He also forbade any seated juror from watching the movie or discussing it with anyone who had seen it.<ref name=T>{{cite magazine |url=http://www.time.com/time/magazine/article/0,9171,877135,00.html |magazine=[[Time (magazine)|Time]] |title=Crime: Joe and Arville |date=December 7, 1970 |access-date=September 9, 2009 |archive-url=https://web.archive.org/web/20101030174513/http://www.time.com/time/magazine/article/0,9171,877135,00.html |archive-date=October 30, 2010}}</ref> Although he brought with him multiple weapons and extra ammunition, Garland received a light sentence.<ref name="Star"/>


Before and after sentencing, Garland received hundreds of letters from parents across the country who expressed sympathy with him. It was also reported that during the first weeks after his sentencing, he received no letters expressing outrage or condemnation of his actions.<ref name=TM>{{cite magazine|magazine=[[Time (magazine)|Time]]|title=The Nation: Sympathy|date=Jan 25, 1971|url=http://www.time.com/time/magazine/article/0,9171,904633,00.html|archive-url=https://web.archive.org/web/20081221210911/http://www.time.com/time/magazine/article/0,9171,904633,00.html|url-status=dead|archive-date=December 21, 2008}}</ref>
Before and after sentencing, Garland received hundreds of letters from parents across the country who expressed sympathy with him. It was also reported that during the first weeks after his sentencing, he received no letters expressing outrage or condemnation of his actions.<ref name=TM>{{cite magazine |magazine=[[Time (magazine)|Time]] |title=The Nation: Sympathy |date=January 25, 1971 |url=http://www.time.com/time/magazine/article/0,9171,904633,00.html |archive-url=https://web.archive.org/web/20081221210911/http://www.time.com/time/magazine/article/0,9171,904633,00.html |url-status=dead |archive-date=December 21, 2008}}</ref>


==Soundtrack==
==Soundtrack==
Credits adapted from LP liner notes.<ref>{{cite AV media notes |title=Original Soundtrack from Joe |date=1970 |publisher=[[Mercury Records]] |type=LP liner notes |id=SRM-1-605}}</ref>
''Joe'' also featured an original soundtrack, introducing artists such as [[Exuma (musician)|Exuma]] with the song "You Don't Know What's Going On", Dean Michaels' "Hey Joe" (not a version of the song made famous by Jimi Hendrix), and other original songs by [[Jerry Butler (singer)|Jerry Butler]] and [[Bobby Scott (musician)|Bobby Scott]].

{{Infobox album
| name = Joe
| type = Soundtrack
| artist = Various artists
| cover =
| alt =
| released = 1970
| recorded =
| studio =
| genre =
| length =
| label = [[Mercury Records]]
| producer = [[Bobby Scott (musician)|Bobby Scott]], Bob Cullen (B1), Daddy Ya Ya (B3)
}}

{{Track listing
| headline = Side one
| title1 = Where Are You Goin'?
| length1 = 3:20
| note1 = Vocal: [[Jerry Butler]]
| writer1 = [[Bobby Scott (musician)|Bobby Scott]], Danny Meehan
| title2 = The Expiration of Frank
| length2 = 2:57
| writer2 = Scott
| title3 = You Can Fly
| length3 = 11:25
| note3 = Vocal: Butler
| writer3 = Scott, Meehan
}}

{{Track listing
| headline = Side two
| title1 = Hey Joe
| length1 = 2:00
| note1 = Vocal: Dean Michaels
| writer1 = Scott, Meehan
| title2 = Compton's Hangout
| length2 = 2:44
| writer2 = Scott
| title3 = You Don't Know What's Goin' On
| length3 = 3:27
| note3 = Vocal: [[Exuma (musician)|Exuma]]
| writer3 = Exuma
| title4 = It's a Crock
| length4 = 1:20
| writer4 = Scott
| title5 = When in Rome
| length5 = 1:20
| writer5 = Scott
| title6 = Send the Hippies to Hell
| length6 = 4:15
| writer6 = Scott
| title7 = Where Are You Goin'?
| length7 = 3:20
| note7 = Vocal: Butler
| writer7 = Scott, Meehan
}}


==See also==
==See also==
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{{Wikiquote}}
{{Wikiquote}}
*{{IMDb title|0065916}}
*{{IMDb title|0065916}}
*{{AllMovie title|26271|Joe}}


{{John G. Avildsen}}
{{John G. Avildsen}}
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[[Category:Films about filicide]]
[[Category:Films about filicide]]
[[Category:Films about father–daughter relationships]]
[[Category:Films about father–daughter relationships]]
[[Category:English-language black comedy films]]
[[Category:English-language independent films]]

Latest revision as of 00:19, 22 December 2024

Not to be confused with Joe (2013 film) or Crazy Joe (film).

Joe
Film poster
Directed byJohn G. Avildsen
Written byNorman Wexler
Produced byDavid Gil
StarringPeter Boyle
Dennis Patrick
Audrey Caire
Susan Sarandon
K Callan
Patrick McDermott
CinematographyJohn G. Avildsen
Edited byGeorge T. Norris
Music byBobby Scott
Distributed byCannon Group[1]
Release date
  • July 15, 1970 (1970-07-15)
Running time
107 minutes
CountryUnited States
LanguageEnglish
Budget$106,000
Box office$19,319,254[2][3] or $9.5 million[4]

Joe is a 1970 American drama film written by Norman Wexler and directed by John G. Avildsen. It stars Peter Boyle, Dennis Patrick, and Susan Sarandon in her film debut.[5][6]

The film follows New York business executive Bill Compton as his life unravels into murderous chaos after he kills his daughter's drug-dealing boyfriend and enters into a peculiar partnership with factory worker Joe, a veteran with racist fantasies of vigilante violence. Their search for Compton's missing daughter leads to a raid on a hippie commune that turns into mass murder where Compton mistakenly shoots his own daughter.

The film's plot coincidentally resembled a real-life mass murder in Detroit, where the killer had killed his own daughter. The real-life killer gained publicity for his actions, and received letters of support from hundreds of parents. The film has received praise for its black comedy-style satire of social class.

Plot

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Advertising executive Bill Compton, his wife Joan, and daughter Melissa are a wealthy family in New York City's Upper East Side. Melissa has been living with her drug-dealing boyfriend. After Melissa overdoses and is sent to a hospital, Compton goes to her boyfriend's apartment to get her belongings. He confronts and kills the boyfriend in a fit of rage. To disguise the act as a robbery, Compton takes a bag full of drugs with him and stashes it in his car. To calm his nerves, he has a drink in a nearby bar, where he hears factory worker Joe Curran ranting about how he hates hippies. Compton blurts out that he just killed one. Joe reacts favorably, but Compton says it was a joke.

A few days later, Joe sees a news report about a drug dealer found slain a few blocks from the bar. He calls Compton and meets him. At first Compton is wary that Joe may be attempting blackmail, but Joe assures him that he admires Compton for killing the drug dealer. As the men drink together, they find a rapport despite Compton's initial unease. A few days later, Compton and his wife have an awkward dinner at Joe's house with his wife, and Joe shows Compton his gun collection.

Melissa escapes from the hospital and returns to the family apartment, where she overhears her parents discussing the murder. She confronts her father saying, "What are you gonna do, kill me too?" Compton tries to restrain her, but she breaks away.

Joe and Compton search for her in the streets and meet a group of hippies at a bar in downtown Manhattan. When Compton tells the hippies he has drugs, they are invited to the hippies' apartment, where they all take drugs and the girls have sex with Compton and Joe. The boys then abscond with Compton's bag of drugs as well as Joe's and Compton's wallets. Joe beats one of the girls until she tells him that their boyfriends often spend time in an upstate commune. Joe and Compton drive to the commune, with Joe bringing rifles. In a confrontation at the commune, Joe starts shooting the hippies and urges Compton to join him. When Compton finally does so, he unwittingly kills his own daughter.

Cast

[edit]

Reception

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The film garnered both critical acclaim and box office success. Produced on a budget of only $106,000,[citation needed] it was a sleeper hit and grossed over $19.3 million in the United States and Canada,[2][3][7] making it the 13th highest-grossing film of 1970. On review aggregator Rotten Tomatoes, it holds an 82% "Fresh" score based on 11 reviews, with an average rating of 6.6/10.[8]

Variety wrote, "It sounds like heavy stuff, but scripter Norman Wexler has fleshed his serious skeleton with both melodrama plotting that sustains interest and the grittiest, most obscene dialog yet to boom from the silver screen. It works."[9] Howard Thompson of The New York Times wrote, "The sad, disappointing thing about 'Joe' is that a devastating, original idea cynically slopes into a melodramatic, surface fiasco."[10] Gene Siskel of the Chicago Tribune gave the film three-and-a-half stars out of four and called it "a landmark film because of the issues and social norms it justifies. It is a dramatic, if not always sophisticated, documentary of a growing portion of the national mentality."[11]

Charles Champlin of the Los Angeles Times called it "an immensely sophisticated piece of film-making," adding, "The plot is laced with implausibilities and the movie full of scenes which are heavily contrived but which play well because they are swept along by the plausibility of Joe himself."[12] Gary Arnold of The Washington Post called it "a fascinating, tendentious picture—a topical murder melodrama and social parable, done in that vivid, loaded, paranoid style which seems to have become a tradition in record time but which remains exciting to watch, even if you question the drift and outcome of the parable."[13] Penelope Gilliatt of The New Yorker wrote, "In the end, 'Joe' sells us short. It shows us clashing archetypes, promises us something of large mind, and then stammers platitudes that lead theatrically every which way."[14]

Norman Wexler's screenplay received an Oscar nomination for Best Original Screenplay.[15]

Legacy

[edit]

When Boyle saw audience members cheering the violence in Joe, he refused to appear in any other film or television show that glorified violence. This included passing on the role of Jimmy "Popeye" Doyle in The French Connection (1971), which would earn Gene Hackman the Oscar for Best Actor. Boyle nevertheless played a ruthless gangster in 1973's The Friends of Eddie Coyle and in 1974's Crazy Joe (not a sequel), and a not-so-ruthless gangster in the 1984 comedy Johnny Dangerously. He also appeared in the violent 1976 drama Taxi Driver. Joe inspired the creation of other tough, working class characters in '70s films and TV shows, including the character of Archie Bunker on the TV show All in the Family.[16]

In the 1980s, there were rumors that Boyle might appear in a sequel to Joe. Citizen Joe would have followed the titular character as he tried to rebuild his life after spending 10 years in prison, and would have also dealt with his grown children who held more liberal beliefs. Cannon Films periodically took out ads for unmade sequels to the film. Cannon promised Joe II in 1980, and in 1985 announced the coming of Citizen Joe with the tagline, "The times have changed but the man has not...He's back."[16] The film never materialized.[17]

In his 2022 book Cinema Speculation, Quentin Tarantino deemed Joe "a kettle-black comedy about class in America, bordering on satire", while conceding that contemporary viewers may find it controversial to classify the film as such. He recalled that the audience he saw the film with in 1970, in a double feature with Carl Reiner's Where's Poppa?, watched the first section of Joe in silence, only to begin laughing "once Dennis Patrick enters the tavern, and Peter Boyle's Joe enters the movie", having gone from "repulsed repose to outright hilarity". Tarantino observed that "Boyle's comedic performance alleviates the picture's one-note ugliness".[18]

Real-life parallel

[edit]

Ten weeks before Joe was released in the United States, a real-life mass murder with similarities to the movie's climactic scenes occurred in Detroit, Michigan. On May 7, 1970, a railroad worker named Arville Douglas Garland entered a university residence and killed his daughter, her boyfriend and two other students.[19]

During pre-trial deliberations, Judge Joseph A. Gillis saw Joe and strongly advised both the prosecution and defense teams to do the same. He then carefully screened each member of the jury pool and excluded any who had seen the movie. He also forbade any seated juror from watching the movie or discussing it with anyone who had seen it.[20] Although he brought with him multiple weapons and extra ammunition, Garland received a light sentence.[19]

Before and after sentencing, Garland received hundreds of letters from parents across the country who expressed sympathy with him. It was also reported that during the first weeks after his sentencing, he received no letters expressing outrage or condemnation of his actions.[21]

Soundtrack

[edit]

Credits adapted from LP liner notes.[22]

Joe
Soundtrack album by
Various artists
Released1970
LabelMercury Records
ProducerBobby Scott, Bob Cullen (B1), Daddy Ya Ya (B3)
Side one
No.TitleWriter(s)Length
1."Where Are You Goin'?" (Vocal: Jerry Butler)Bobby Scott, Danny Meehan3:20
2."The Expiration of Frank"Scott2:57
3."You Can Fly" (Vocal: Butler)Scott, Meehan11:25
Side two
No.TitleWriter(s)Length
1."Hey Joe" (Vocal: Dean Michaels)Scott, Meehan2:00
2."Compton's Hangout"Scott2:44
3."You Don't Know What's Goin' On" (Vocal: Exuma)Exuma3:27
4."It's a Crock"Scott1:20
5."When in Rome"Scott1:20
6."Send the Hippies to Hell"Scott4:15
7."Where Are You Goin'?" (Vocal: Butler)Scott, Meehan3:20

See also

[edit]

References

[edit]
  1. ^ Maçek III, J.C. (August 2, 2013). "From the Zombie Hoards to the Successfully Bankrupt: The First Year of 'The Next Reel'". PopMatters. Archived from the original on August 7, 2013. Retrieved December 7, 2024.
  2. ^ a b "Box Office Information for Joe". The Numbers. Retrieved May 19, 2012.
  3. ^ a b "Box Office Information for Joe". Box Office Mojo. Retrieved May 19, 2012.
  4. ^ Donahue, Suzanne Mary (1987). American film distribution : the changing marketplace. UMI Research Press. p. 291. Please note figures are for rentals in US and Canada
  5. ^ Nystrom, Derek (2004). "Hard Hats and Movie Brats: Auteurism and the Class Politics of the New Hollywood". Cinema Journal. 43 (3): 18–41.
  6. ^ Perlstein, Rick (2008). Nixonland: The Rise of a President and the Fracturing of America. Simon & Schuster. ISBN 978-0-7432-4302-5.
  7. ^ "Ernie Sands Slant: Let 'Joe' Arrive As Surprise Item". Variety. September 23, 1970. p. 6.
  8. ^ "Joe". Rotten Tomatoes. Fandango Media. Retrieved July 10, 2023.
  9. ^ "Film Reviews: Joe". Variety. July 15, 1970. p. 14.
  10. ^ Thompson, Howard (July 16, 1970). "'Joe,' an East Village Tale, Arrives". The New York Times. p. 40.
  11. ^ Siskel, Gene (August 21, 1970). "Movie Review: Joe ***½". Chicago Tribune. p. 15.
  12. ^ Champlin, Charles (September 24, 1970). "Hatred Seethes in 'Joe'". Los Angeles Times. p. 12.
  13. ^ Arnold, Gary (August 20, 1970). "Parable of 'Joe'". The Washington Post. p. C1.
  14. ^ Gilliatt, Penelope (August 15, 1970). "The Current Cinema". The New Yorker. p. 66.
  15. ^ Oliver, Myrna (August 26, 1999). "Norman Wexler; Oscar-Nominated Writer". The Los Angeles Times.
  16. ^ a b Hoberman, J. (July 30, 2000). "FILM; Off the Hippies: 'Joe' and the Chaotic Summer of '70". The New York Times.
  17. ^ Bergan, Ronald (December 14, 2006). "Peter Boyle Scene-stealer who put on the Ritz as a monstrous foil to Young Frankenstein". The Guardian.
  18. ^ Tarantino, Quentin (November 2022). "Little Q Watching Big Movies". Cinema Speculation. HarperCollins. pp. 4–5. ISBN 9780063112599.
  19. ^ a b Pevere, Geoff (June 18, 2010). "How Joe and Patton could, 40 years on, play again today". Toronto Star. Retrieved December 27, 2013.
  20. ^ "Crime: Joe and Arville". Time. December 7, 1970. Archived from the original on October 30, 2010. Retrieved September 9, 2009.
  21. ^ "The Nation: Sympathy". Time. January 25, 1971. Archived from the original on December 21, 2008.
  22. ^ Original Soundtrack from Joe (LP liner notes). Mercury Records. 1970. SRM-1-605.
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