Joe the King (1999)

Frank Whaley's first feature film, as scripter and director, isn't just an homage to Truffaut's "The 400 Blows," it's a complete reworking of it. Americanized, modernized and made all the more harsh, sad and timely because of it, Whaley's debut is a wonderful, albeit troubling, film.

Surprisingly, it begins with one of the worst sequences ever filmed. The opening shot, a traveling shot that ends upon an obviously lonely and rebellious youth is hackneyed and trite. The first real "action" scene contains some of the most cartoonish and typical dialogue, acting and action ever committed to film. For a moment, you think the whole damn film is going to suck.

But in the snap of fingers, five years pass and the film begins on it's concentrated course. Whaley almost immediately lets us see that he is taking us into Truffaut territory by replaying out the "milk drinking" scene from "The 400 Blows." But Whaley takes it one step further by adding a touch that shows the true nature of his protagonist's character. He shares his ill-gotten booty with other youths. He has a giving heart. It's quite wonderful. And, although we don't understand and see it clearly yet when we are provided this exposition, we begin to see it come in focus as the film progresses. It is what makes us believe in hope for Joe at the end of the film, this caring, giving side he has.

Whaley runs a dangerous play, almost sinking into the "TV Movie of the Week" landscape with his subject matter. But his actors, in particular young Noah Fleiss, and his wonderfully subtle script somehow navigates easily through the terrain, making only small indentions into the psyche of the plot as it travels and skimming lightly on his subject matter. This is not to say that this subject matter is vague or treated shoddily. Rather it is the subtlety and the demure manner of the film that makes it all the more poignant and saddening. Fleiss' Joe is adrift, lost... and Whaley shows us how he came to be this way with delicate little vignettes and beautiful and touching moments that show us the character's reality. It slowly sinks us into the mire of his existence. And like a lude-head in quicksand we find ourselves slowly dripping into the drowning mess of Joe's existence. Furthermore, like him, we can find no means of escape, no hands to assist us.

Conversely, as an adult director, Whaley gets some big- name Hollywood help here. Val Kilmer is wonderful as Joe's abusive father. Kilmer elevates the "heavy" into an arena that makes us somehow not hate him. Perhaps we see him with the same open and wise, yet loving eyes of Joe. It is Kilmer and Fleiss who make this so. Ethan Hawke (who was in "A Midnight Clear" with Whaley) plays a Guidance Counselor who may mean well but, like Joe, is in way over his depth of understanding. John Leguizamo, who acts as a producer here, plays his typical New York ladies-man but adds a twist because his slick "player" is also way out of his depth here. No one, it seems, can truly see the world of hurt Joe is in, let alone begin to help in any way. Other familiar faces include Austin Pendleton and Camryn Manheim in cameos, though the latter is one of the ham-hands in the opening sequences.

Two lesser known faces also add to this realism and punctuate Fleiss' performance with wonderful work of their own. Karen Young, who worked with Whaley on "Hoffa," portrays Joe's mother with that sense of defeated ignorance we've come to expect from abusive/abused mothers. But, like Kilmer, she seems to add more here. There is a intricate yet sparkling chemistry between she and Fleiss that overcomes any obstacles the genre might imply. Likewise, in the role of Joe's brother, Max Ligosh brings forth a character who plays so ripplingly off of Fleiss' Joe that we can't help but love him and feel sorry for him as well. The two youths here, with seemingly vast differences yet shared experiences, coming from the same household, provided pointed insight into just what is going wrong. For as much as Joe travels down a path that is simply preordained for him, Max's Mike somehow manages to be veering off into his own. It is just slight enough to provide interesting juxtaposition yet perfectly realistic enough for us to see an eventual fate awaiting him as well. Perhaps the seemingly knowing Mike, with his ability to fit somewhat more easily into his peer group, is just as scarred and scared and troubled and endangered as Joe. As the film progresses, his shell begins to crack. His facade begins to crumble. And, although he is not the primary character, we wonder about his eventual fate as well.

Whaley is apparently treading on some semi- autobiographical moments here. Surprising to say the least. But his "Joe the King" has that knowing eye, that acute touch of verisimilitude. It's been there. And while it is Fleiss' Joe that certainly carries the film, it is surely Whaley's behind-the-scenes knowledge that makes Fleiss so remarkable. This kid makes us care. He brings us to the film. And Whaley does such a wonderful job of allowing the camera to enter his world, without ever (after the first horrible 2 minutes) being intrusive or overbearing or pretentious. Whaley knows it. Fleiss portrays it. We see it.

Another wonderful touch in the film is the music. Robert Whaley, one assumes Frank's brother, plays a small role in the film. However his true gift to "Joe the King" is the score that he creates with Anthony Grimaldi. Beautiful and sad, the score perfectly accents the emotions in the film. It is stark, tender, sharp and perfect. There is even a piece of music which plays off those 70's scores for "idyllic" coming- of-age films. It adds a piercing counterpoint to the film's harrowing realism.

Their are people who will say that this film travels typical ground. That it doesn't show us anything we haven't seen before. That it is depressing. That it is just too sad. But they are missing out. "Joe the King" may be saddening, but it's got a heart and a message that is truly wonderful. It may trod on some well-worn subject matter, but it does so in such a perfect and tender way, that it makes us care. It makes us see. And it's somehow quite timely. When we thought we had hardened our hearts to a point of not caring and not seeing ever again, it breaks through the modern jaded soul. Like a sledgehammer wielded by a child, it hits us in our most vulnerable spot and surprises us with it's power to penetrate our defeated, hardened shell.

Sure, some people wont feel this way. Some people wont care. Some won't want to see it.

I feel sorry for them. Notes:

The film was known as "Pleasant View Avenue" at one point.

The nepotism factor: In addition to Robert Whaley's work, Mitchell Fleiss portrays a cop and Laura Ligosh is one of the teenage girls.

Report Card

Script: A-

Acting: A+

Cinematography\Lighting: C+

Special Effects\Make Up: C

Music: A+

Final Grade: A-