Joe (2013)

joe nicolas cage

Nicolas Cage disappears into his role as the titular Joe in a film that’s thematically rather familiar but also a surprisingly realist piece of cinema.

The film follows the principal characters Joe (Nicolas Cage) and Gary (Tye Sheridan). Gary is the only member of his degenerate family who is able to work and earn a living; he has been forced to become a responsible person by his vile, repulsive father Wade (Gary Poulter), a man who has abused his body so much and for so long that he can only speak in slurred, incoherent ramblings. I recently compiled a list of the 10 most hateful characters of cinema; I think Wade could quite easily be placed in it.

Joe is a recidivist who is haunted by his criminal history and continues to struggle with controlling his anger, it seems the only way he can stay out of trouble is by absorbing himself in his small landscaping company.

Joe leads a group of black workers, they clear wooded areas with these rather strange axes that waywardly squirt poison everywhere. Joe and Gary are brought together when the boy implores him to employ both himself and his father. Joe obliges and Gary proves to be a good worker, although the agreement is soon thwarted by his obnoxious father who is too polluted, weak and lazy to contribute to the team.

The cast of Joe’s workers and indeed the whole film is populated with actors who were seemingly taken from the street, their performances are completely natural and their language raw, colloquial and as a result sometimes completely incomprehensible! A few times I felt like an American watching Trainspotting, particularly during a row between the moronic Wade and a black worker, whose ebonics is the strongest I’ve ever heard.

Joe is a tough watch, there are characters that represent the very lowest form of human life, there’s seldom a room in the film that isn’t a filthy, cluttered mess. I didn’t expect it to be such a realist piece of cinema, its depiction of blue collar work and young Gary’s first foray into it is sure to resonate with anyone who’s had similar experiences, myself included.

Nicolas Cage doesn’t stick out at all, he effortlessly blends in with the surrounding cast of largely unknown actors. Like Leaving Las Vegas, Joe is an example of Cage moderating his idiosyncratic acting, which I like incidentally, and showcasing just how good he is.

Clear correlations can be made with Mud, a similarly themed film about a benevolent renegade forming a bond with Tye Sheridan’s conflicted teenage boy. Joe is the superior of the pair, although Mud boasted good performances from its leads, it was melodramatic and overrated. Tye Sheridan’s character Ellis in Mud, who is given far too much screen time, thought about love and human relationships in ways that 14-year-old boys just don’t – I didn’t believe in him. He also had a habit of vehemently punching people in the face that belied his prepubescent little frame. Joe’s Gary is a much better character, a measured boy who simply wants to make a living and prove to the men in his life that he’s no kid.

Mud lacked Joe’s gritty nastiness, it had treacly melodrama instead of stark reality. What they do share is the running theme of redemption, and in the case of Joe, I found its conclusion rather familiar and subsequently bathetic. Despite this, Joe succeeds in absorbing you in its masculine world and Nicolas Cage defies any naysayers by completely disappearing into his role as the titular rogue.

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Monster (2003)

charlize theron aileen wuornos

A torturous, depressing biography with an uncannily accurate lead performance.

What a tortured life this woman led; a life of inferiority, confusion, violence, victimisation, prostitution, anger and ultimately, murder. Charlize Theron’s utter transformation is what drives this film, her performance and physical emulation perfectly conveying the desperate pain and impetuous anger of her character. I think the Oscars are not much more than a smug festival of self-celebration, but this performance deserved commendation.

‘Monster’ is the story of Aileen Wuornos, a prostitute from Florida who murdered seven men between 1989 and 1990. One might think that the film’s title would suggest otherwise, but  the film gives a very human representation of Wuornos. She was indeed a ‘monster’ in her final years, but the film’s emphasis on the brutal, relentless path that led to her first killing shows the architecture of such a creation. But not for a second, I hasten to add, does the film condone her violence, she isn’t glorified and she isn’t vilified either, the film is so very downbeat and visceral that it would be impossible for anyone to be allured by it. ‘Monster’ is by no means the tale of one woman standing up against chauvinist pigs; her tale of nature, nurture and the consequences of violence is impartially told.

The film reflects on Wurnos’ childhood, a time of sexual favours, inadequacy, rape and beatings. A narrative gap, which misses a dubious failed marriage and numerous arrests, presents the viewer with a sorry picture, a woman who washes in petrol station toilets, a woman who is desperately trying to survive. She then meets a companion, the vulnerable Selby Moore. It’s at this point that the film strays from the facts; ‘Selby Moore’ is a fictional character, very loosely based, especially in appearance, to Tyria Moore, Wuornos’ lover until her execution.

The pair, who have moved in together, live off Wuornos’ prostitution wage until their relationship is complicated by Moore’s discovery of Wuornos’ taste for violence. The film depicts the first murder as Wuornos described it -self defence. Unlike her later stories, I think this claim has credibility; it’s quite possible that Mallory thought Wuornos was expendable social underclass, an easy thrill without consequence. I respect that the scene was orchestrated in this manner.

Monster is a stark and balanced insight into the frankly miserable life of Aileen Wuornos. You may not like her and all the violence will most likely strain your empathy, but I think you’ll leave the film having a greater understanding of the woman.

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