Sonny Boy (1989)

Undescribable Perfection

I wanted to but couldn't!

For all the hype it got I was expecting a lot more!

Absolutely brilliant

This was a bizarre film, is one way of putting it. A con artist, played by Brad Dourif, kills a couple then steals their car taking it to his friend who deals in stolen items. The car ends up having a baby in the back of which the man wants to get rid of but his wife played by David Carradine (who wears make-up and several dresses throughout) wants to keep the baby. If that's not weird enough they keep him in a box and on his sixth birthday the man cuts the boys tongue off! He calls it getting the gift of silence. The depravity doesn't end there. As he grows up he is dragged behind cars and just constantly abused. The father wants to groom him to be his secret weapon. He later takes his son (now a man) to kill people he needs killed.Definitely a weird and dark film. You hear a cobbled version of the deliverance theme so as not to infringe on copyrights all the way through the film. The ending gets dull but entertaining until then.

"Sonny Boy" is not for the faint of heart, or the easily offended. It's a mind blowing, shocking, trashy melodrama that the cast performs for everything that they're worth. It may not be to very many tastes, but this twisted, darkly comic allegory is striking enough and compelling enough to make it a memorably weird viewing. Yet it does manage the feat of being somewhat poignant, even in the face of its depravity.In 1970 New Mexico, a young couple is murdered, their car stolen, and baby unknowingly abducted - by quirky lowlife Weasel (who else but the great Brad Dourif). Weasel takes the prize(s) back to his boss, small time crime kingpin Slue (Paul L. Smith of "Popeye" and "Pieces"). Slue lives with a "wife", Pearl (David Carradine, who plays the role in full drag) who takes an instant shine to the kid. Slue wants nothing to do with a child until he realizes that he now has innocent life that he can corrupt as he sees fit, and turn into a feral attack dog. The much abused "Sonny Boy" (Michael Boston) makes his presence known to the outside world, eventually, leading to predictable circumstances."Sonny Boy" will turn some viewers off and intrigue others. At least it does seem to have the courage of its convictions. While on the one hand it depicts a pretty sleazy little world, it's decently shot in widescreen by Roberto D'Ettorre Piazzoli and vividly designed by Mario Molli. The music by Carlo Maria Cordio is nice, and there's a similarly appealing, wistful ditty composed and sung by Carradine called "Maybe It Ain't".Carradine is truly something to see as the desert moll. Smith, who didn't want to do the movie but changed his tune when he saw who else had been signed up, is typically amusing as the loathsome father figure. Dourif and his "One Flew Over the Cuckoo's Nest" co-star Sydney Lassick are reunited as they cheerfully play their slimy parts. Conrad Janis is solid as a drunken doctor teased by his fellow citizens. And Alexandra Powers is appealing as Rose, the young lady who is moved by Sonny Boy and tries to reach out to him.Worth a look see for the more adventurous among B movie enthusiasts.Seven out of 10.

Terminally weird indie film with Paul L. Smith playing Slue, a small town crime boss. David Carradine plays his transvestite (I think) squeeze, Pearl, while Brad Dourif and Sydney Lassick are his two henchmen, Weasel and Charlie P. Weasel kills a couple and steals their car, which he brings to Slue. He didn't realize, however, that the couple's baby was asleep in the back. Slue wants to feed the kid to the hogs, but Pearl sees him as the son he could never have. They raise him as a killer to be used against Slue's enemies. They also cut out his tongue as a birthday present?! When Sonny Boy gets loose, his actions threaten to turn the town against Slue.I had wanted to see this one after reading about it in "Terror on Tape", and TCM gave me the chance when they aired it as part of their Underground lineup. As you can plainly see from the plot description, it's certainly offbeat. Sort of an allegory in disguise for the effects of child abuse, you might expect this to be a disturbing film. Not even close. Instead, it's just strange. Slue has an old canon, and in a wicked scene, he uses it to blow apart a nosy deputy. There are also some obvious parallels to Frankenstein towards the end. Had I not known it beforehand, I would have been shocked to see that this was released in '89. It felt like something straight out of the 70's. The main giveaway was the computer font which tells how much time had passed. While I would hesitate to call "Sonny Boy" a good film, it's worth a look if only to say that you've seen it. For fans of bizarre cinema, there's enough of a novelty present to warrant at least one viewing. Personally, I'm still not 100% sure if Carradine was supposed to be playing a guy in drag or an actual woman.

If you have ever appreciated any movie containing violence and depravity...SEE THIS FILM.The acting is WONDERFUL...the writing is WONDERFUL...the direction is WONDERFUL.Denouncing the violence and depravity in this film is on par with denouncing the violence and depravity in Shakespaere's "Richard III" OR "Titus Andronicus."It is sad to learn that the director of this movie lost his career over it...and that the movie is forgotten...when snooze-fests like "No Country for Old Men" are now heralded and have awards hurled at them as though they were something new.This movie is simply better in every way than "Pulp Fiction"..."No Country...." or so many other ultra-violence-and-depravity-as-art films. I notice that Reservoir Dogs (1992)and then Pulp Fiction (1994) came out 3 years after this film. How tragic for all the talent associated with this movie. It is interesting, and a little sad, to contemplate the reception this movie might have received in a post-"Pulp Fiction" America. With our squeamishness for "depraved violence" mostly behind us....this film might have been recognized as the masterpiece it is.