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.
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.