THE BALLAD OF LITTLE JO
A film review by James Berardinelli
Copyright 1993 James Berardinelli
Rating (Linear 0 to 10): 7.3
Date Released: varies Running Length: 2:00 Rated: R (Nudity, mature themes, violence)
Starring: Suzy Amis, Bo Hopkins, Ian McKellen, David Chung Director: Maggie Greenwald Producers: Fred Berner and Brenda Goodman Screenplay: Maggie Greenwald Music: David Mansfield Released by Fine Line Features
Once, Hollywood framed our vision of the Old West as a place of gallantry and bravery, where the good guys and bad guys would shoot it out, and right would always triumph over wrong. Women, when they had parts in these films, had few lines, and rarely broke from the stereotypes of dancing girl or meek, dutiful frontier wife. Lately, however, the images given to us by the film industry have been changing. UNFORGIVEN showed that the line between good and evil is blurred, and Posse made sure that the role of the black cowboy isn't forgotten. Now, THE BALLAD OF LITTLE JO comes along to clear up a few more misconceptions.
Once Josephine Monaghan (Suzy Amis) lost her virginity and gave birth to a bastard, her future was ruined. With her past sins hanging over her like a hangman's noose, she has no choice but to flee the constrained, pampered socialite's world she knew in the East, and head West. There she discovers that the best life she can lead as a woman is that of a prostitute, so she makes the bold decision to grab at freedom and independence by masquerading as a man. Whiskers and muscles aren't necessary. The mere appearance of a female as a male in a time when it's "illegal to dress improper to your sex" is enough to convince just about everyone.
THE BALLAD OF LITTLE JO follows UNFORGIVEN in presenting a gritty, dirty view of America's Nineteenth Century frontier. The scenery is still nice, but it's hard to appreciate a beautiful vista when an innocent family is getting butchered in the middle of it. There aren't many heroes here; shooting people turns out to be a lot more difficult than plunking tin cans.
Loosely based on the true-life story of a woman about whom little is known, the story of LITTLE JO is a masterpiece of detail and intelligence. Maggie Greenwald has done her homework, piecing together an engrossing tale that movies quickly enough to keep the easily- distracted involved, but not so rapidly that it misses the nuances of the situation. Touches of humor are mixed nicely with drama as LITTLE JO explores the entire spectrum of human emotions. And just because Jo has chosen to live life as a man doesn't mean that she can't yearn for her lost femininity.
The focal point of this film is Jo. As played by Suzy Amis, the character is perhaps not perfectly developed, but the actress gets better as the movie unfolds. I was particularly unimpressed with her early scenes (when she's openly female), but after the "transformation," she settled into the role. Amis is not an especially emotive actress, and her Jo is reserved--perhaps occasionally too much so. The most effective scenes are those of quiet emotion, such as when Jo sheds a tear.
Physically, Ms. Amis is not so classically beautiful that she can't be made up to look like a boy. It's amazing how much a change of clothes and a haircut can do. Certainly, the transformation here is far more believable than in ORLANDO. I was never able to accept Tilda Swinton as a man; it's less difficult with Amis. Then again, she's only acting like a man, not actually trying to be one.
The standout actor in LITTLE JO is Bo Hopkins, who gives a boisterous performance as the cursing, gunslinging Frank Badger, a rough man with as good a heart as they come. Hopkins makes Frank come alive, and his relationship with Jo, which deserves far more screen time than it's accorded, is one of the most real and interesting elements of the movie. Would that all the other character interaction was as good.
The last scene belongs in another movie, however. Throughout LITTLE JO, the humor is of the subtle variety, but as the film draws to a close, there is an overt attempt at outright comedy. It works as far as getting laughs, but the presence of this moment somehow cheapens the twilight of an otherwise mostly-effective motion picture. LITTLE JO doesn't need complete closure, and certainly not in the manner by which it is attained.
LITTLE JO is successful in capturing the atmosphere of the Old West. Camerawork and musical score deserve credit for this--especially the latter. From the first notes of the opening theme, it's apparent that the choice of David Mansfield was perfect for composer. Rarely has a score so expertly matched the tempo of a film--it becomes a vital part of LITTLE JO without forcing itself upon the audience.
If you like films about the "new Old West," THE BALLAD OF LITTLE JO is not to be missed. Even for those who aren't particularly fond of Westerns, this movie still has a lot to offer. Keeping the conventions of the genre to a minimum, it strikes out in bolder directions, reflecting personalities and lifestyles through the eyes of a woman whom everyone accepts as a man. LITTLE JO loses its focus on a number of occasions, but never for very long, and never in such a manner that seriously jeopardizes the viewer's overall enjoyment of Maggie Greenwald's film.
- James Berardinelli (blake7@cc.bellcore.com)
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