Bill, a wealthy businessman, confronts his junkie daughter's drug-dealing boyfriend; in the ensuing argument, Bill kills him. Panic-stricken, he wanders the streets and eventually stops at ...
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Comedy about how New Yorkers are coping with pervasive urban violence, obscene phone calls, rusty water pipes, electrical blackouts, paranoia and ethnic-racial conflict during a typical summer of the 1970s.
A disillusioned aging decent man and once proud WWII veteran is dealing with midlife crisis as well as a tough moral dilemma. If he wants his small near-bankrupt clothing company to survive, he has two days to let go of his shaken morals.
Parents in a small, conservative community don't think that the sex drive is a normal thing for children to experience. So much so, that they label education in that regard as a communist ... See full summary »
John G. Avildsen
Bill, a wealthy businessman, confronts his junkie daughter's drug-dealing boyfriend; in the ensuing argument, Bill kills him. Panic-stricken, he wanders the streets and eventually stops at a bar. There he runs into a drunken factory worker named Joe, who hates hippies, blacks, and anyone who is "different", and would like to kill one himself. The two start talking, and Bill reveals his secret to Joe. Complications ensue.Written by
Reaction to this film disturbed actor Peter Boyle for years. He refused the lead role in The French Connection (1971) and other roles that glamorized violence after people cheered his role in this project. See more »
Microphone briefly visible over Joe's head in phone booth. See more »
This was the first movie I viewed, just by chance, after my discharge from active duty in the Army in 1970. Forty-two years later, remembering nothing of the plot, only that I left the theater very emotional (rare for me), I found a DVD copy at a local library.
I now realize why I have since not been able to regard Peter Boyle as anything but a frightening character, even in his comic role on the TV series "Everybody Loves Raymond." To be fair, his 1976 role in "Taxi Driver" didn't help, but his face, as seen in "Joe", is still the stuff of nightmares for me.
That said, I learned that it was the now long-forgotten hostility between sectors of our society, so brutally represented in the film, created by the debacle in Vietnam that affected me so deeply in 1970. Today, even to one who was there, the experience of living in an America so torn, so close to open rebellion, is hard to conceive - even harder to explain. But fresh off the plane, still somewhat glum from the cold stares at the airport caused by my uniform, this film hit me like a hammer. And guessing from the huge profit it made, it did the same to many.
It shocked me that I hadn't remembered Susan Sarandon was in this film - she has been one of my favorites - and, as a bonus, the then 24 year-old Ms. Sarandon appears nude. How could I have possibly forgotten that?
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