Joanna (1968)

I'd give this film maybe 4 stars for plot, but probably 8 stars for its original and experimental cinematography and production. It is a 1960s experimental film, but with a big-studio budget and real actors. I saw this on a college film series many years ago, and like most viewers had mixed feelings about it--not the greatest film ever made, but certainly a lot of original stuff. This is more a film of bits and scenes than a whole story. If you want to see a more coherent movie about a young woman in the big city--try "TWENTY"--good, realistic and fun and sexy too.One memorable scene from Joanna--Ms. Waite is discovered in bed with an older man when his wife unexpectedly turns up, suitcases and all, in the bedroom--caught! She deals with this by saying "Been away?" and then rushes out of the apartment in what seems to be her bedclothes. This is followed by an overwrought montage of her wandering through some lush urban park in slow motion. We do not see the psychological progression of her romance with her black lover. Just moments of them dancing together in a hallway, and then her crying after visiting him in prison.Some IMDb reviewers have panned Donald Sutherland's performance here, but I thought he was good, and original.. His whole subplot was great!--The trip to North Africa, the closeup of the setting sun--first time I'd ever seen that effect. Sutherland's death scene is done very originally. The camera pulls back about 500 feet from his bedstead when he dies--very exaggerated and surreal. Makes a point, but again kind of overwrought.The exuberance and experimental nature of this film make it a real product of the 1960s. It should be lumped together with the Beatles' MAGICAL MYSTERY TOUR and later the Who's TOMMY. Not to mention the first 20 years of MTV in the 1980s and beyond. --Films inspired by art school classes and Italian movies by Fellini and Antonioni.No this is not a perfect work of art or of movie entertainment, but hurray for it's willingness to try new stuff! Two bits of info about the star--Genvieve Waite--she told people that she was the reincarnation of Marilyn Monroe--even though she was clearly born before MM even died. Also--after this film, she was married for a few years to John Phillips of the rock band "Mamas and Papas." She underwent a grueling period of heroin addiction with him, and this is recounted at length in his autobiography "PAPA JOHN."

Musical free association, free love and fashion. Genevieve Waite, in the title role, was at the time flavor of the month, not really sure what quality other than oddity, she brings to the role.Donald Sutherland is interesting but creepy. He spews some philosophy on death and reincarnation in his role as a terminally ill count. He brings some nuance to the story, but this does not sustain the film.Some nice cinematography of Brighton Beach, London and the 1960's era, as well as Technicolor fashion and hair we now see routinely on the runway. Okay if you are up for free association and fluff, don't expect too much. 6/10.

This film for me is rather a distant memory. I think at the time, I rather enjoyed the movie but really what sticks out in my mind is the beautiful rendition of the song Joanna recorded by Tony Bennett. I would like to view the film now, just to weigh in on it from a decidedly expanded life experience.

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.