5.9/10
298
22 user 8 critic

Joanna (1968)

A provincial girl is entangled in the mod morality of London.

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Nominated for 1 Golden Globe. See more awards »

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Cast

Cast overview, first billed only:
...
...
Hendrik Casson
...
Gordon
...
Lord Peter Sanderson
Glenna Forster-Jones ...
Marda Vanne ...
Granny
Geoffrey Morris ...
The Father
Michelle Cook ...
Margot
Manning Wilson ...
Inspector
...
Black Detective
Dan Caulfield ...
White Detective
Michael Chow ...
Lefty
...
Bruce
Jane Bradbury ...
Angela
...
Miranda De Hyde
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Storyline

Joanna Sorrin, a whimsical and fanciful country girl, goes to London to follow a fashion design course. She comes into contact with the capital's young jet set and becomes the mistress of Gordon, the black owner of a night club. Unfortunately her lover happens to kill a man and is sent to jail. As she is pregnant from Gordon, Joanna returns to her parents'home. But the young woman has not yet said her last word. She WILL be back in Swingin' London ! Written by Guy Bellinger

Plot Summary | Add Synopsis

Taglines:

Joanna is mad, mod, the best!

Genres:

Comedy | Drama | Musical

Certificate:

R | See all certifications »
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Details

Country:

Language:

Release Date:

24 November 1968 (USA)  »

Also Known As:

Joana  »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

Color:

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

Michael Sarne originally wanted his then-girlfriend Gabriella Licudi for the title role. See more »

Goofs

When Joanna, Lord Sanderson, Beryl and party go to Morocco (North Africa) for vacation Joanna gives Sanderson a gift which he calls a compass. The gift is not a compass, it's a sextant, a more complex navigating instrument. See more »

Crazy Credits

Panavision is the first thing to be credited. The production seal follows. Then, "This film is entirely fictional..." appears on the screen. Director Michael Sarne is then credited, followed by the rest of the crew members. The actors are not credited. The title of the film appears last and blinks on and off in neon, soft-focus letters. See more »

Connections

Referenced in The Post (2017) See more »

Soundtracks

I'll Catch The Sun
Music and Lyrics by Rod McKuen
Sung by Rod McKuen
Published by Twentieth Century Music Corporation-ASCAP
See more »

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User Reviews

Aimless tale of an aimless teen in 60's London
6 July 2003 | by See all my reviews

Director Michael Sarne would have the filmgoing public believe that the studios, the actors (in MYRA BRECKINRIDGE in particular), and 'the system' torpedoed his career. But, when one sees his single picture of note, JOANNA, on the big screen in a rare public showing - One discovers that the film world did not lose much. Composer Rod McKuen attended this weekend's American Cinemateque screening and revealed that the title character was a thinly autobiographical substitute for the director himself (Joanna's surname is 'Sarne' after all).

On paper, it would seem to make an exciting story - Young and handsome teen comes to London; Dresses in chic fashions; Hangs out with the 'in' crowd; Has sex with every other person one meets; Parties every night; Travels to exotic lands etc. How odd then that so much of the film wanders around aimlessly from venue to venue, from person to person, from incident to incident with so little meaning or consequence. It's rare that someone would find his own life so aimless. That aimlessness is certainly a part of what Sarne was after, but almost certainly not to the degree portrayed here.

To be fair, there are flashes of genuine artistic talent (and some can be mined from MYRA BRECKINRIDGE as well). The opening and closing title sequences are terrific, playful and inspired. Color, sound and editing are experimentmented with in interesting ways. A long sojourn to Morocco is both colorful and meaningful. The middle of the picture is indeed dominated by Donald Sutherland as a rich dude who takes Joanna and some friends to Africa. Affecting a bizarre stuttering accent, one can't help but be entertained, even if one suspects that much of the reaction of modern audiences is the result of familiarity with Sutherland more than the skill of the performance (indeed McKuen insisted that Sutherland's accent came and went so frequently that much of his performance had to be edited around and drowned in his music!).

Certainly an interesting document of its time (with the 'shocking' inclusion of not one but two interracial romances, free sex, and the intrusion of unnecessary violence into young people's lives - a nod to Vietnam?), JOANNA is a fascinating failure.


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