In the 1970s, American cinema was transformed, becoming the mirror of the aspirations, struggles and contradictions of a rapidly changing society. At the heart of this cinematic revolution, John G. Avildsen emerges with his film “Joe”, a daring work that depicts an iconic character, both raw and sensitive. Through Joe’s lens, Avildsen explores themes of violence, disenchantment and the search for identity, capturing the essence of a time when American dreams are wavering and society is confronting its own demons. “Joe” presents itself as a poignant and disturbing reflection of America in the 70s, placing its director at the heart of an artistic movement that would never stop questioning the aspirations and disillusionments of a generation.
John G. Avildsen, filmmaker often associated with his masterpieces Rocky (1976) and Karate Kid (1984), demonstrated through “Joe, it’s America too” that he was much more than a simple artisan of cinema. This film, released in 1970, is both symptomatic and representative of the many upheavals in American society at that time.
From beginnings in advertising to making cult films
Before venturing into filmmaking, Avildsen took his first steps in the world of advertising, then as an assistant director alongside big names such as Arthur Penn and Otto Preminger. These collaborations allowed him to acquire versatile technical expertise. In 1970, with his experience, he carried out Joe is also America, a film with a modest budget which would bring in nearly 250 times its initial investment at the box office.
The turning point of the Cannon Group
In its early days, Cannon Group, later known for its action films starring Charles Bronson and Jean-Claude Van Damme, was primarily rooted in the realm of sexploitation. Joe is also America marks a turning point for the production company, embodying a paradigm shift with its modest funding and monumental success.
A carefully written exploitation film
Written by Norman Wexler, future screenwriter of Serpico And Saturday Night Fever, the film is distinguished by rich and sophisticated writing. From its opening, John G. Avildsen immerses the viewer in the precarious daily life of Melissa and Frank, wonderfully embodying the societal upheavals of the time. The careful settings, the clothing and the patient staging bear witness to the director’s desire to anchor his work in a complex social reality.
An unlikely duo
The film sees the surprising union of Bill Compton, a wealthy man played by Dennis Patrick, and Joe, a hateful worker played by Peter Boyle. Their improbable meeting crystallizes the social and political tensions of the time. Bill, who accidentally kills his daughter’s drug dealer boyfriend, finds an unexpected ally in Joe. Joe, fascinated by Bill’s act of violence, sees in him a hero who had the courage he lacks.
A reflection of contemporary America
Joe’s populist and hateful speech, masterfully interpreted by Peter Boyle, still resonates today. The rise of extremist speeches during the years of the Trump presidency shows how much Joe’s impact remains relevant. The film thus appears to be a reflection on the resentment and frustrations that fuel extremes.
A hybrid and impactful staging
Avildsen skillfully oscillates between social drama and exploitation film, thereby illustrating the fluidity of the boundaries between these genres. The latent violence of the film, accentuated by a crude realism, culminates in a final carnage which reflects the spiral of madness into which the characters sink.
Rediscovery and reissue
Thanks to the new Blu-Ray and DVD edition under the ESC banner, Joe is also America can be rediscovered in the best conditions. In addition to the image quality, this reissue includes two interesting extras: a trailer and a 45-minute interview with Jean-Baptiste Thoret, which sheds light on the film in a new light.
Joe’s legacy through Rocky
Jean-Baptiste Thoret, in his interview entitled The Awakening of Silent America, invites spectators to rediscover Rocky by having Joe is also America in mind. According to him, the character of Joe anticipates that of Rocky Balboa, an anti-hero who, this time, would have missed his chance. Thoret also discusses developments in the scenario, directly linked to the social and political developments of his time.
In short, Joe is also America is an essential work of the 1970s that continues to resonate powerfully today. Through this film, John G. Avildsen demonstrates a rare understanding of social dynamics and offers a sharp critique of his own time, while creating timeless and deeply human characters.
