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In 2007, filmmaker Rowan Joseph, about to direct a national tour of a play adaptation by Bradley Rand Smith of Dalton Trumbo’s novel Johnny Got His Gun, went to the New York Public Library for the Performing Arts to watch a beloved videotape of the original 1982 off-Broadway production with Jeff Daniels. Joseph had seen and loved the play, which had run for 27 performances, and initially viewing the video in the late ’80s, he became even more besotted, despite the fact the first ten minutes had no audio. What Joseph discovered to his horror upon re-watching the video in 2007 was that the first 20 minutes had been destroyed when it was transferred from VHS to digital. Devastated by the idea that no full, permanent record of the play existed, Joseph decided to postpone the play and make a video of a new production of it instead. This is the fascinating genesis of what is undoubtedly a labor of love for all concerned.
Trumbo’s anti-war novel, which was previously filmed in 1971 with adaptation and direction by the once-blacklisted Trumbo himself, all takes place in the mind of Joe Bonham. He has been injured by an artillery shell on the last day of World War I, which leaves him a quadruple amputee who has also lost his eyes, ears, nose and mouth. His brain, however, is intact, and he devises a Morse code system of tapping his head to communicate his desire to be put on display as an illustration of the horrors of war.
The play is a one-man show, staged with the utmost minimalism and, as such, an audience challenge. Luckily, Joseph has cast it perfectly, with Ben McKenzie (formerly of “The O.C.”) as Joe. McKenzie has the perfect boy-next-door looks as well as the physical intensity and ardent naturalism to hold your interest. It’s a tour-de-force performance, and Joseph’s camerawork is fluid and sensitive, commendably staying well out of the way of his actor, as he emotes a sadly timeless tale particularly germane to this election year.
An antiwar literary classic reaches the bigscreen (again) via stage translation in “Dalton Trumbo’s Johnny Got His Gun.” That circuitous route benefits the interior monologue of a soldier robbed of speech, sight and limbs, struggling to maintain sanity in his hospital bed. Ably filmed by veteran stage producer-director Rowan Joseph, Bradley Rand Smith’s theatrical script provides a bravura thespian workout for Ben McKenzie. Critical support and the recent docu “Trumbo” might help attract niche attention to Truly Indie’s city-by-city, single-screen release before it begins its shelf life as a smallscreen broadcast/educational item.
The Oscar-winning, blacklisted author’s 1939 novel has been a classroom perennial, but attempts to film it (at one point, Luis Bunuel was slated to direct) were stymied until Trumbo took it upon himself to bankroll and direct a 1971 bigscreen version.
While it has its defenders, that feature –Trumbo’s first and last directorial effort — is in many respects a good illustration of the “unfilmable book equals unwatchable movie” principal, dramatizing the source material’s stream-of-consciousness with heavy-handed literalness. Smith’s solo stage version preemed Off Broadway in 1981, winning an Obie for thesp Jeff Daniels. Joseph embarked on this first feature upon discovering the sole archival video copy of that performance had been partially, accidentally erased.
On a stage bare but for a bench, oversized chair and occasional back projections, we first meet Joe Bonham (McKenzie) leaving small-town America for WWI service, waving goodbye to loved ones from the train. The war itself passes in a brief blur, ending when he’s “hit hard” and believes he’s experiencing “stone-cold death.”
But amid a subsequent confusion of childhood and romantic recollections, he gradually realizes his actual predicament: bandaged head to toe, his face horribly maimed, all his limbs amputated, unable to move or communicate.
Pleas to be woken from this nightmare, in which he can’t even be sure “whether I’m awake or asleep,” alternate with more reminiscences, dim perceptions of the hospital world around him and mental games played simply to stop himself from going insane. (It’s a thrilling accomplishment when he works out a way to tell how time is passing.) Finally, this 20-year-old, his life for all practical purposes over, discovers a means of making himself heard, tapping head against bedboard in Morse code. But his sole request — to be displayed as an example of war’s cost — is decreed “against regulations.” Trumbo’s pacifist message comes through loud and clear, though in both the text and visuals, pic doesn’t end on as strong a note one might like.
“The OC” star McKenzie, so good as Amy Adams’ peevish husband in “Junebug,” has just the right heartland look. His highly physical performance — illustrating the wandering energy of Joe’s thoughts, not his trapped body — nimbly runs this ordinary yet bright and likable character’s gamut of emotions.
Though billed as “live onstage, on film,” pic was staged for the camera rather than for a live audience. It’s never static, despite the stark design, thanks largely to ace contributions from lenser Andrew K. Sachs, editor Jay Cassidy and lighting designer Leigh Allen.
Ben McKenzie should no longer be remembered as “that cute blonde guy from ‘The OC.’” Instead, people should think of him as the actor who gives a stunning performance as a disabled war veteran in “Johnny Got His Gun.”
The film is based on the book by Dalton Trumbo and tells the story of Joe Bonham, a 20-year-old World War I veteran who was hit with an artillery shell on the last day of the final battle. Joe survives, but doctors are forced to amputate all four of his limbs, as well as his eyes, ears, mouth and nose. Although his body is nothing more than a shell, Joe retains the ability to think and reason.
The film takes place entirely inside Joe’s head with minimal props and scenery. Basically, the movie consists of McKenzie delivering a 70-minute monologue about his character’s life before, during and after the war. Imagine watching a one-man play in which a wooden chair and bench are the only objects on stage. Now add in some lighting and smoke effects, and you should have a pretty good idea about what it’s like to watch this movie.
The entire production crew consisted of three people, making “Johnny Got His Gun,” the epitome of an indie film. The only special effects are accomplished through the use of creative lighting and cinematography. The fact that the movie delivers such a strong anti-war message without showing any gore or battle scenes is impressive.
If this film sounds like it’s on the depressing side, it is. Joe is essentially trapped inside himself with no hope of ever recovering, reliving memories of his father and fiancée knowing that he’ll never be able to see them again.
Ultimately, this movie had the potential to be melodramatic and would have been been if not for such a strong performance from McKenzie. He takes the audience on a roller coaster ride, portraying emotions from complete hopelessness to a faint sense of optimism. Even if you mocked “The O.C.” in high school, you still have to appreciate the progress he’s made as an actor.
“Johnny Got His Gun” opens today at the Dobie Theater.
Hey guys.I know a lot of you know me from ben_support or from the Ben board in FanForum but for those who don’t know me, my name is Michal and I’m a huge fan of Ben’s.
I am going to help Stef out with the site and I’ve already added some pictures from the Johnny Got His Gun Premiere and from various interviews Ben did to promote the movie:
Mark your calendars! The World Premiere of Dalton Trumbo’s JOHNNY GOT HIS GUN, hosted by actor Ben McKenzie and director Rowan Joseph, will take place on Monday, September 22nd at 7pm at the Paramount Theatre in Austin, TX, prior to opening at Landmark’s Dobie Theatre on Friday the 26th.
The film is also slated for a limited release, opening at Landmark’s Shattuck Theater in Berkeley, CA on Oct. 10th, at the Quad Cinema in New York City on Oct. 24th, at GoggleWorks in Reading, PA on Nov. 7th, and at the Laemmle Sunset 5 in Los Angeles on Nov. 14th. It is expected to pick up additional dates and screens through the end of the year.
A percentage of ticket proceeds will be donated to the Fallen Patriot Fund, a non-profit group established to help families of U.S. military personnel who were killed or seriously wounded during Operation Iraqi Freedom.
Click here for additional information about the premiere.
Click here to visit The Paramount Theater’s site and order tickets.
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Johnny Got His Gun (2008)
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