Little Boy Blue

This "sleeper" is a masterfully done, complex drama. The story unfolds slowly at first, and the relationships among the characters remain somewhat ambiguous during the first part of the movie. However, once the plot starts to unravel, the film becomes a compelling mystery, revealing only hints of the true horror that propels the action. This is probably Phillippe's best work as an actor; he is given the chance to act--and not simply stand around and look pretty--and he is quite good. Savage and Kinski also deliver powerful performances. You'll probably have no trouble finding this one at the video store, since it didn't get much publicity. But it's definitely worth watching.

The primary problem with most non-mainstream films is that they fail to adhere to some of the basic cinematic elements that make films work. True, they are often interesting and provocative, but they fail in the larger sense that the film itself (not just the subject matter or content) fails to succeed for viewers.

That is not the case with "Little Boy Blue." For once, a novel premise and provocative content combine in a well-written screenplay that leaves the viewer fulfilled instead of disappointed. This film far exceeded my expectations in all areas, including the believable yet powerful acting in all of the major characters.

My major problem with the film was that the early part of the film didn't deal with (or even allude to) the overriding premise that really comes to light in the final third of the film. Additionally, the Doris Knight characterization seemed a bit unstable and her motivation in the final scenes is hard to pin down.

Still, a highly recommended film.

Little Boy Blue is a difficult-to-review dichotomy of a movie. It continually pairs brilliant film-making with portions that one would expect from a straight-to-video release.

The movie starts off quickly establishing its heavy sexual content and unusual family relationships. The alcoholic, Vietnam veteran father played by John Savage is a fierce, detestable character meant to be feared by all but his inexplicably devoted wife played by Kinski (what does she see in him?). Savage's character is effective but could have given us more understanding of why he became who he is.

Savage spares no family member his brutality and cruelty. Oldest son Jimmy (Ryan Phillippe) receives even more denigration than his two younger brothers. The tension as Savage and Phillippe both realize that Jimmy's now reaching the age where he may be able to stand up to Savage and therefore threaten his dominance over the family is brilliantly played.

Phillippe's performance is light-years past any of his others. He steals the movie with his torn-character-- wanting to escape his hellish father, but fearing what will happen to his mother and even more so his two young brothers if he leaves. This debate is layered even more into his relationship with his girlfriend and the possibility of leaving for college with his great baseball talent.

Jimmy's desperate need for love and yet difficulty of being able to love after his nightmarish upbringing makes for captivating viewing. In one sense, though, he has already found it in the wonderfully-shown love he has for his two brothers. It is one of the most tender brother relationships one will find on the screen and clearly the heart of the entire movie.

The mystery and plot-turns are much more hit-and-miss than the relationships. Some are well-conceived and timely unveiled, but others make one scratch his head and wonder what was the point of that? One wonders if too much was left on the cutting room floor or if the movie was dumped into video stores with little thought.

Such instances include the dramatic recognition by the mail-carrier of the police patrolman that leads to ... nothing. In fact, the mail-carrier's role seems to be too large for such little payoff. And what is the point of the forced-statements at gunpoint by Mrs. Knight?

Overall, the role of the police in the movie is the least-developed. Various implications are made in vague, unfulfilled ways. Are the police attempting a cover-up or are they simply negligent in their investigation? And why all the time spent on Nate Carr's attempt to get in on more action at the police department?

Little Boy Blue has more flaws than one would like, but it so perfectly handles the complicated relationships at the center of the story that you can't help but love this movie. It will at once move you to tears of sorrow, fits of empathetic anger, and hopes of peaceful love.

A warning, though; this movie is full of sex and is worse in that regard than most R-movies. However, this is central to the plot and not superfluous.

Here is the irony: many go to see Phillippe's body in cheaper, low-brow movies. They will likely miss this one-- which surely shows more of Phillippe than any of his others-- but which for the first time shows the possibility of a coming actor. And, in at least my opinion, finally puts Phillippe in a quality movie-- one you won't soon forget.

Rating:8

Evocative drama deals with some touchy subjects while barely scratching the surface and therefore demanding that the viewer actually think for themselves. Complete with some intriguing characters, thanks to great storytelling and good acting, this has a realistic feel to it. Almost like a generation X "Lone Star" this movie deserved way better attention than it got.

A boy named Jimmy West (Phillippe), who longs for a better life, learns some harsh realities about his existence. After years of dealing with an abusive and sexually disturbed "father" (Savage) and being protector to his "mother" (Kinski) and younger brothers, he is given a chance by his wealthy girlfriend to get away. The only problem is, guilt, love and fear for his family makes him stay. Upon realizing Jimmy is growing up and has been snooping around where he shouldn't, his father decides its time to reveal some startling news to him. The shocking news makes Jimmy more desperate than ever to tear himself and his family away from his father before something worse happens. At the same time, a woman named Doris (Knight) appears in town, and she reveals to the police why she is searching for the West family. The police lend their help, but she ultimately takes matters into her own hands when she shows up at the West's trailer. The ending is not at all what one would expect and many questions are left unanswered, leaving the viewer wishing for more explanation.

I was sorry to see that this movie was not highly publicized because I thought the acting was intense by all. Having forgotten that I first saw Phillippe (along with John Savage) in "White Squall", this was really the first time I saw him in a leading role and, might I say, what a performer he is. As for Savage and Kinski, one of the reasons I watched this movie was to see them together again as I had enjoyed them so much in "Maria's Lovers". It was nice to see the chemistry still there. Admittedly, some of the sex scenes are a bit harsh and you need to see this movie more than once to really understand it, but don't let that stop you from seeing it at all.