Rating: 
Summary: A lovely "little" movie
Review: "Joe Gould's Secret" is certainly not a great film, nor an unusually good one. I liked it because it is a very thoughtful film, from a thoughtful director (Stanley Tucci). I've found that very few films are interested in examining the process of writing; perhaps this reflects the minimal effort put into most screenplays these days. The pair of Joes in this movie - Joe Mitchell, a writer for the New Yorker, and Joe Gould, a Bohemian eccentric - form a sort of symbiotic couple. Ian Holm's performance of Joe Gould is one of the most lovely acts of biography I've seen in a few years. His performance is not an extended act of sympathy, but a complicated portrait of a man who made very deliberate and unconventional decisions about how to live his life. Though it's not a great movie, I would gladly revisit it for another viewing.
Rating:
Summary: A lovely "little" movie
Review: "Joe Gould's Secret" is certainly not a great film, nor an unusually good one. I liked it because it is a very thoughtful film, from a thoughtful director (Stanley Tucci). I've found that very few films are interested in examining the process of writing; perhaps this reflects the minimal effort put into most screenplays these days. The pair of Joes in this movie - Joe Mitchell, a writer for the New Yorker, and Joe Gould, a Bohemian eccentric - form a sort of symbiotic couple. Ian Holm's performance of Joe Gould is one of the most lovely acts of biography I've seen in a few years. His performance is not an extended act of sympathy, but a complicated portrait of a man who made very deliberate and unconventional decisions about how to live his life. Though it's not a great movie, I would gladly revisit it for another viewing.
Rating: 
Summary: A story does not end when the writer finishes writing...
Review: I watched "Joe Gould's Secret" without knowing that it was based on a true story, but was not surprised when that turned out to be the case because this 2000 film from actor/director Stanley Tucci rings true. Tucci plays Joe Mitchell, a columnist for "The New Yorker" magazine in the early 1940s who had a chance encounter with a Greenwich Village bohemian eccentric named Joe Gould (Ian Holm). His reporter's curiosity piqued, Mitchell asks around a bit and finds that Gould claims to be writing an epic Oral History of New York, an almost daily record of the conversations he has each day with the forgotten ordinary folks of the great metropolis (the Oral History has to be capitalized; that is clear from the way Gould and his friends talk about it). The notebooks containing this million-word history are secreted around the city with the various artist friends who provide Gould patronage by listening to him and making monetary contributions to the Joe Gould Fund. The rationale for their indulgence is articulated by the painter Alice Neel (Susan Sarandon) who tells Mitchell, "I have always felt that the city's s unconscious is trying to speak to you through Joe Gould."
Mitchell discovers that Gould is a walking contradiction, capable of both quick bursts of anger and madness as well as perceptive insights into the human condition. He proves his credentials at being a superb listener by doing a Henry Higgins and telling Mitchell he was born in North Carolina based on a single sentence. Mitchell writes two articles about Gould for "The New Yorker." The first, "Professor Sea Gull," makes Gould even more of a cult figure about the New York intelligentsia, and a publisher (Steve Martin) is interested in at least reading the Oral History. But Gould refuses to let excerpts be published, saying it is all or nothing, and declaring it will only be produced posthumously. Years later, after Gould died, Mitchell would write a second essay, from which this film gets its title. However the delicious irony of this film is that the secret that lies at its heart belongs as much to Mitchell as it does to Gould.Holm has the flashy part as the brilliant madman, but it is Tucci's Mitchell that is the pivotal performance. "Joe Gould's Secret" is more about how Mitchell sees Gould than we do in watching the film. There is a scene early on when Mitchell tries to explain to his editor why he might want to rewrite an article that has already been accepted for publication. Mitchell gropes without success for the words to speak out loud and his editor can only laugh and point out that it is a good thing this Joe writes better than he talks. But the exchange is significant because it speaks to the depths of Joe's emotions and intellect. We see or hear little of what Mitchell writes; most of the voice over narration has him quoting the words of Joe Gould. So it is the looks on Tucci's face, the way he sets his body, the pace of his walk, that give us our only clues to the deep rivers of his heart, mind, and soul. "Joe Gould's Secret" is a film in a minor key, but it is a nice little gem all the same.
Rating:
Summary: A story does not end when the writer finishes writing...
Review: I watched "Joe Gould's Secret" without knowing that it was based on a true story, but was not surprised when that turned out to be the case because this 2000 film from actor/director Stanley Tucci rings true. Tucci plays Joe Mitchell, a columnist for "The New Yorker" magazine in the early 1940s who had a chance encounter with a Greenwich Village bohemian eccentric named Joe Gould (Ian Holm). His reporter's curiosity piqued, Mitchell asks around a bit and finds that Gould claims to be writing an epic Oral History of New York, an almost daily record of the conversations he has each day with the forgotten ordinary folks of the great metropolis (the Oral History has to be capitalized; that is clear from the way Gould and his friends talk about it). The notebooks containing this million-word history are secreted around the city with the various artist friends who provide Gould patronage by listening to him and making monetary contributions to the Joe Gould Fund. The rationale for their indulgence is articulated by the painter Alice Neel (Susan Sarandon) who tells Mitchell, "I have always felt that the city's s unconscious is trying to speak to you through Joe Gould."
Mitchell discovers that Gould is a walking contradiction, capable of both quick bursts of anger and madness as well as perceptive insights into the human condition. He proves his credentials at being a superb listener by doing a Henry Higgins and telling Mitchell he was born in North Carolina based on a single sentence. Mitchell writes two articles about Gould for "The New Yorker." The first, "Professor Sea Gull," makes Gould even more of a cult figure about the New York intelligentsia, and a publisher (Steve Martin) is interested in at least reading the Oral History. But Gould refuses to let excerpts be published, saying it is all or nothing, and declaring it will only be produced posthumously. Years later, after Gould died, Mitchell would write a second essay, from which this film gets its title. However the delicious irony of this film is that the secret that lies at its heart belongs as much to Mitchell as it does to Gould. Holm has the flashy part as the brilliant madman, but it is Tucci's Mitchell that is the pivotal performance. "Joe Gould's Secret" is more about how Mitchell sees Gould than we do in watching the film. There is a scene early on when Mitchell tries to explain to his editor why he might want to rewrite an article that has already been accepted for publication. Mitchell gropes without success for the words to speak out loud and his editor can only laugh and point out that it is a good thing this Joe writes better than he talks. But the exchange is significant because it speaks to the depths of Joe's emotions and intellect. We see or hear little of what Mitchell writes; most of the voice over narration has him quoting the words of Joe Gould. So it is the looks on Tucci's face, the way he sets his body, the pace of his walk, that give us our only clues to the deep rivers of his heart, mind, and soul. "Joe Gould's Secret" is a film in a minor key, but it is a nice little gem all the same.
Rating: 
Summary: Exploration of oneself
Review: One negative comment I heard after the Sundance Premere of this film may best explain what is extraordinary about this film. The comment was "There was no real story, what was the meaning of this film?" After a kneejerk reaction, I realized that story may not be visible to everyone, but if you are aware enough it is an enlightening and an obvious story. The story is simple; the preson next to you may, if you are so inclined, touch you in so many ways, weather you want them to or not. It is this human interaction that is the essance of life, espeacially in a place like New York City. Stanley Tucci has a gift that so many directors disire. Stanley speaks to the audience with characters, not the cameras. Maybe this is because he is a character and he understands that the story is told throught its charaters. In any case, Stanley has caputured the best of this allstar cast with the therory "Less is more." In short, if you have any dersire to be enriched in many facets of life, then and now, do yourself a favor and purchase this film. I think you'll realize that Joe Gould isn't the only person with a secret he can't wait the share with the world.
Rating:
Summary: Exploration of oneself
Review: One negative comment I heard after the Sundance Premere of this film may best explain what is extraordinary about this film. The comment was "There was no real story, what was the meaning of this film?" After a kneejerk reaction, I realized that story may not be visible to everyone, but if you are aware enough it is an enlightening and an obvious story. The story is simple; the preson next to you may, if you are so inclined, touch you in so many ways, weather you want them to or not. It is this human interaction that is the essance of life, espeacially in a place like New York City. Stanley Tucci has a gift that so many directors disire. Stanley speaks to the audience with characters, not the cameras. Maybe this is because he is a character and he understands that the story is told throught its charaters. In any case, Stanley has caputured the best of this allstar cast with the therory "Less is more." In short, if you have any dersire to be enriched in many facets of life, then and now, do yourself a favor and purchase this film. I think you'll realize that Joe Gould isn't the only person with a secret he can't wait the share with the world.
Rating:
Summary: A little oral history never hurt...
Review: Stanley Tucci has yet to direct anything that could have him labeled a sellout. His work is small in budget and action, big in character study. The true story of JOE GOULD is perfect for Tucci to continue his streak. JOE GOULD was a bohemian homeless genius that loudly created the most important piece of literature never to be published. Ian Holm (THE LORD OF THE RINGS) commands the screen as Joe and Tucci himself is rather touching as the magazine writer who acts as Gould's reluctant biographer. Much of his family life is rather charming which could be a story in itself. That might be because the film borrows from 2 sources, One where he reports on Joe Gould the author and the second where he reveals the truth about Joe. The film has a couple big cameos from Susan Sarandon to Steve Martin. The DVD has a nice video transfer.
Rating:
Summary: A little oral history never hurt...
Review: Stanley Tucci has yet to direct anything that could have him labeled a sellout. His work is small in budget and action, big in character study. The true story of JOE GOULD is perfect for Tucci to continue his streak. JOE GOULD was a bohemian homeless genius that loudly created the most important piece of literature never to be published. Ian Holm (THE LORD OF THE RINGS) commands the screen as Joe and Tucci himself is rather touching as the magazine writer who acts as Gould's reluctant biographer. Much of his family life is rather charming which could be a story in itself. That might be because the film borrows from 2 sources, One where he reports on Joe Gould the author and the second where he reveals the truth about Joe. The film has a couple big cameos from Susan Sarandon to Steve Martin. The DVD has a nice video transfer.
Rating:
Summary: Thematically-rich film that will make you think and wonder
Review: Thematically rich film even though it has trouble juggling everything smoothly. Tucci never really prioritizes his themes and as a result, the profoundness of the "secret" is obscured. I was still won over however because, well, because these topics are just not given enough attention in mainstream films. On the surface, it appears that Tucci is examining the tumultuous relationship between the two Joes, but the real subject is the equally chaotic relationship between artists and their artistic endeavours. Tucci examines how artists endure much suffering for their work and as a result, they tread a fine line between genius and madness. He also seems to be saying that if the artistic impulse is not reined in, it can potentially become destructive because the truth that artists feel compelled to convey is much too complex and diverse to be expressed merely by the simple tools at the artists' disposal. In fact, Gould's oral history reminded me of the director's rushes at the end of Assayas' "Irma Vep" -- an unrestrained vision gone haywire, short circuited by the futile attempt to express grand and divine ideas in a conventional format. Tucci touches upon other themes as well, such as the difference between patronage and commercialism, the root of artistic inspiration, the responsibility of journalists for their subjects, etc. but they do not really go anywhere. When the "secret" is revealed, in a most nonchalant manner, by the closing captions of the film (the "secret" is actually multi-layered -- there is another "secret" on the story surface, readily apparent just from the plot), a chill went down my spine. Consequently, it made me re-examine the whole story and although "Joe Gould's Secret" is a good story, it isn't the main story nor the most compelling one, or otherwise the film would have been called "Joe Mitchell's Secret". It's puzzling why Tucci approached the story the way he did, but this movie is still a winner, and it's nice to finally watch a film that is bloated with ideas. The detailed set-pieces of New York in the '40s are also a treat to look at. Ian Holm gives the performance that is conspicuously remarkable, but it's Stanley Tucci's performance, which is nearly invisible next to Holm's, that becomes more noteworthy upon reflection, particularly after pondering the meaning of the film's closing captions.
Rating:
Summary: Thematically-rich film that will make you think and wonder
Review: Thematically rich film even though it has trouble juggling everything smoothly. Tucci never really prioritizes his themes and as a result, the profoundness of the "secret" is obscured. I was still won over however because, well, because these topics are just not given enough attention in mainstream films. On the surface, it appears that Tucci is examining the tumultuous relationship between the two Joes, but the real subject is the equally chaotic relationship between artists and their artistic endeavours. Tucci examines how artists endure much suffering for their work and as a result, they tread a fine line between genius and madness. He also seems to be saying that if the artistic impulse is not reined in, it can potentially become destructive because the truth that artists feel compelled to convey is much too complex and diverse to be expressed merely by the simple tools at the artists' disposal. In fact, Gould's oral history reminded me of the director's rushes at the end of Assayas' "Irma Vep" -- an unrestrained vision gone haywire, short circuited by the futile attempt to express grand and divine ideas in a conventional format. Tucci touches upon other themes as well, such as the difference between patronage and commercialism, the root of artistic inspiration, the responsibility of journalists for their subjects, etc. but they do not really go anywhere. When the "secret" is revealed, in a most nonchalant manner, by the closing captions of the film (the "secret" is actually multi-layered -- there is another "secret" on the story surface, readily apparent just from the plot), a chill went down my spine. Consequently, it made me re-examine the whole story and although "Joe Gould's Secret" is a good story, it isn't the main story nor the most compelling one, or otherwise the film would have been called "Joe Mitchell's Secret". It's puzzling why Tucci approached the story the way he did, but this movie is still a winner, and it's nice to finally watch a film that is bloated with ideas. The detailed set-pieces of New York in the '40s are also a treat to look at. Ian Holm gives the performance that is conspicuously remarkable, but it's Stanley Tucci's performance, which is nearly invisible next to Holm's, that becomes more noteworthy upon reflection, particularly after pondering the meaning of the film's closing captions.
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