This week’s television movie addresses the issue of elder abuse, featuring Tuesday Weld as a stressed-out mother who vents her frustrations on her aging mother. In the film, Joaquin Phoenix portrays a well-meaning son who, while blasting loud music and allowing his boisterous friends to relax on the furniture, expresses his annoyance with their new house guest: “Grandma is really getting on my nerves!”
In early 1993, Sam Shepard’s heavy Western made its debut at Sundance before being shelved for a year. In this film, Phoenix plays a widowed man consumed by sorrow, reminiscent of his role in the unfinished film Dark Blood. Here, his character’s father, played by Richard Harris, finds a second wife for him through the traveling performer (Alan Bates) who initially sold him his first. Phoenix’s performance requires little nuance, showcasing a sorrowful and brooding demeanor. Notably, his brother Joaquin would later take on the role of Harris’s son in Gladiator.
Directed by Peter Bogdanovich, this marked the final film completed by Phoenix. It features Samantha Mathis (his then-girlfriend), Dermot Mulroney, and a young Sandra Bullock as aspiring country musicians in Nashville. Their vibrant performances highlight Phoenix’s discomfort on screen. Critics, including Roger Ebert, remarked on his distant and frail appearance, suggesting that his portrayal may have hinted at deeper personal struggles.
In a story about espionage, Phoenix stars as Jeff, an all-American high school student unaware that he is actually Nikita, the child of Russian sleeper agents. This revelation comes from an undercover FBI agent played by Sidney Poitier. While the film is rife with spy clichés, Phoenix’s performance shines, particularly when he passionately declares, “Truth has no meaning in this house!” echoing the intensity of James Dean’s iconic lines.
Despite featuring a strong ensemble cast, including Ellen Burstyn and Molly Ringwald, this television movie about a teenage suicide pact tends to lean towards melodrama. However, Phoenix’s raw and heartfelt portrayal of a grieving brother resonates, particularly when he sorrowfully reflects on his late sibling. His performance earned him a Young Artist Award, surpassing co-star Heather O’Rourke, who tragically passed away at a young age.
More than half of Phoenix’s last film was completed before his tragic overdose on October 31, 1993. Director George Sluizer salvaged the footage to prevent its loss, creating a fragmented version that premiered in 2012. In this film, Phoenix plays a reclusive widower who assists a married couple when their car breaks down near his isolated home, leading to a suspenseful narrative. Though Phoenix’s presence is compelling, it is only Judy Davis’s performance that feels fully cohesive, amidst reported tensions on set.
In a comedic twist, Phoenix stars alongside Tracey Ullman as a wronged wife plotting to kill her cheating husband (Kevin Kline). Ullman’s character is supported by her mother (Joan Plowright), a dedicated hippie (Phoenix), and a pair of stoned amateur hitmen (William Hurt and Keanu Reeves). Despite Phoenix’s insistence that his character bears no resemblance to him, the role feels like a reflection of his offbeat persona.
According to Esquire, Phoenix expressed discomfort with the commercial nature of a lively caper he starred in, even advising friends against watching it. Although his role was limited, he reunited with Poitier for a more engaging espionage adventure, where they were part of a quirky tech-security team led by Robert Redford. This film featured a memorable scene with Dan Aykroyd, who donned a shirt promoting Aleka’s Attic, the band fronted by Phoenix.
Phoenix often seemed hesitant to embrace his heartthrob status, making his single true teen film both unconventional and somber. Portraying Jimmy, a troubled young poet, he navigates morally ambiguous relationships, including one with a friend of his mother. In one memorable scene, he expresses disinterest in a girlfriend’s fantasy, stating, “I don’t feel like Jack the Ripper today.” Despite a re-edit by Twentieth Century Fox turning it into a more commercial comedy, director William Richert’s original cut, titled Aren’t You Even Gonna Kiss Me Goodbye?, remains a more refined version. Richert and Phoenix later collaborated again in My Own Private Idaho before Richert’s passing in 2022.
The most exhilarating aspect of this trilogy is its rapid, origin-story introduction, featuring Phoenix’s compelling performance that has since captivated audiences.
