Word: joe
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Dates: during 1960-1969
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...Joe Buck (Jon Voight) is a strutting phallus, good, he admits, for nothin' but lovin'. His muscles are like his mind, heavy and ornamental. His eyes are like attic windows, blank and blue, opening onto a pile of dusty junk. The son and grandson of prostitutes, Joe flees the loveless desolation of his Tex as home and heads for Manhattan...
Wrecking Ball. After a series of sexual skirmishes, Joe finds himself smack in the middle of the country he left: despair. As he wanders, he comes upon Ratso Rizzo (Dustin Hoffman). A septic, crippled thief, Rizzo lives, like his nicknamesake, in the upper reaches of a condemned building, waiting for the wrecking ball. In a sense it has already arrived. Though he nourishes fantasies of a future in Miami, Ratso is too frail to last the winter. With a final galvanic reach for life, he extends a greasy hand -and Joe Buck takes...
Nothing overt ever transpires between them; every conversation is an exchange of slurs. They become inseparable chiefly because they share a common loss: both could sue life for alienation of affections. Joe Buck is alternately a male hustler and a gigolo; if he knows a lot about sex, he is, like Ratso, ignorant of sympathy. Neither realizes that the only place he has ever found it is in his companion. Yet by the time the two head for Florida, they have become aspects of the same person. As the thief coughs his way to death aboard a bus, the cowboy...
...newest effort, Lonesome Cowboys. The idea was a camped-up Romeo and Juliet out West. Unfortunately, things get sort of confused, as they have a way of doing with Andy, and the result is a series of dreary, druggy improvisational harangues by such luminaries as Tom Hompertz, Joe Dallesandro and Viva!, the superest Warhol superstar of them all. Now that Boris Karloff and Bela Lugosi have passed on, Viva! stands unrivaled as the screen's foremost purveyor of horror. By the simple expedient of removing her clothing, she can produce a sense of primordial terror several nightmares removed from...
...indeed, I had money on it." Joe Louis had been a hero of his younger days. Now it was the aging Patterson, struggling for a comeback, that he identified with. George had always followed the fights devoutely, and his own son had been a fine middleweight for a time. Boxers and jazzmen were the great folk heroes of that culture. In George's youth, long before black men were allowed into other fields of sports and entertainment, the fighter and the musician were looked upon with reverence and awe. These men, who could beat the hell out of white...