Running on Empty (1988): River Phoenix’s Legacy is Immortalised in Family Drama

It was only until this year that I saw for the first time Running on Empty. A family drama that is best known as the film that gave the now legendary River Phoenix his only Oscar nomination (for a role that was evidently the lead but was somehow side-lined to supporting). The movie, directed by the master Sidney Lumet, brought to life a sensible story about the tension between family and ideals. And now, more than 30 years later, maintains its relevance because of the warmth of its execution and the complexity of its characters. The adults act like children and the teenagers display a profundity and understanding of life that is passionate and inspiring.

Our introduction to Running on Empty is through Danny Pope (River Phoenix). He is at a baseball practice, failing miserably to hit the ball. Although athletic, he seems nervous, preoccupied, anxious (the battles with his glasses become a little tick throughout the film that makes us wonder if the character Danny or the actor River is not used to this accessory). He is not a good baseball player; nevertheless, he declares that baseball is his life. And yet, as we get to know him, we realise that he is more of a musical soul.

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The thing is that Danny and his family are imposters. They create false façades to lead normal lives for a while before moving on to another town. His parents, Arthur (Judd Hirsch) and Annie Pope (Christine Lahti), have been running from justice after the protest-bombing of a napalm laboratory resulted in a wounded person. Their lives have been shaped by their ideals, and now they try to bring up their children – Danny and Harry (Jonas Abry). Under a strict alternative lifestyle founded on the questioning of authority and the dissociation from the American dream and its capitalist foundation. They have been moving around for ages, but now that Danny is a teenager the inevitability of his critical thinking and longing for stability starts to threaten their peaceful but unstable existence.

Once the family settles in a new town, Danny sees the promise of connections through his music teacher – who is eager for him to audition to Juilliard – and Lorna Phillips (Martha Plimpton), the teacher’s daughter who quickly becomes his only friend and love interest. While Danny’s path is the heart of the story, every character is well-defined within their existence.

Arthur is stubborn about his ideals and notion of family unity. He imposes his ideology, and he doesn’t listen, flirting with becoming a despotic figure. Annie, meanwhile, is haunted by the way their children are shaped by their runaway life. Her journey feels truthful and painful. She is the one that questions the consequences of her actions, even thinking about turning herself in for the sake of her children. This struggle is Arthur and Annie’s, but now their children are forced to live according to their truth and righteousness.

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In this regard, the story plainly juxtaposes the idealism of the youth and the determination of the old (intriguing aspect when we consider that Arthur and Annie were once rebellious and idealistic teenagers). Danny and Lorna question everything around them. Danny is restless and eager to explore life outside of his family and the realities that have been taken for granted in his home. Lorna longs for connection, for someone to see her as she is. She wants people – and especially adults – to see others for what they are, and not only for what they offer or show on paper.

This philosophy is revolutionary and urgent. In how many instances of our lives are we exclusively judged on the merit of our reputation, or the official documents that register our existence as part of a society? Lorna rejects this and aims for human closeness and intimacy. Danny’s nervous demeanour shows that he is burdened by too many secrets and desires. Should he give up his future for the sake of keeping the family together? Or should he give up the family security for the promise of a future in a society that is repudiated by his parents?

The film perfectly encapsulates the unfair scenarios where children must pay for their parents’ decisions. Danny faces questions that do not belong to him; expectations that were imposed on him and that he never asked for, and now the unjust burden of tearing up the family or giving up his dream rests on him.

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At the centre of this conundrum is River Phoenix’s fragile presence. While ever actor shines in their role, it is Phoenix who is the beating heart of the film. He is quiet and polite, but he is passionate and sincere (deliciously complex considering that his life is built on lies). While he acts cool about the possibility of studying music, his excitement is palpable and desperate. He has lived a long time in the shadows, and now he has a hard time adjusting to interested eyes and new possibilities.

But, more importantly, his character is tormented by his reality, and the possibilities of getting what he wants or continuing with his nomadic life. Whatever happens, it will not be easy, and now things are more complicated because he is genuinely in love with the sharp and deeply critical Lorna.

My favourite thing about Phoenix as an actor is his boldness in showing emotional vulnerability. In Stand by Me (1986), he is affectionate and caring with his friends. In My Own Private Idaho (1991), he is open about his feelings, longing for a love that doesn’t belong to him. And in Running on Empty, he is loving and careful with his family and his expectations.

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Danny is quietly present when his parents argue about their future, he is doubtful when he realises what his dreams could mean to his family, and he is painfully determined when he gives up everything – yet again – for his commitment to his parents (especially his father). He is a tortured soul that never externalises anger or toxicity, to the contrary, the people around him always receive gentleness from him.

Here resides Phoenix’s most valuable legacy: the tenderness of his persona. He wasn’t afraid to show feelings, to cry on screen or to be gentle. That sensibility marked his short – but remarkable – career. Even today, his influence is palpable amongst some of the most promising young actors who are building their careers on emotional responses and softness, rather than coldness and toxicity. Names such as Logan Lerman (The Perks of Being a Wallflower, Stuck in Love), Charlie Plummer (Lean on Pete, Spontaneous) or Lucas Hedges (Manchester by the Sea, French Exit), owe a lot to the figure propelled by Phoenix. His legacy is evident and profoundly appreciated in today’s landscape.

In Running on Empty, the adults end up learning more about life from the teenagers. The kids offer passion and bravado, questioning the things that have led the lives of their parents and that have put them in the complicated scenarios where they currently are. The script is sweet and sincere, strengthened by the powerful performances of its core characters. Although it is difficult to choose a favourite, River Phoenix’s presence and emotional honesty defines the film’s place in history.