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RUMBLE FISH
Stylish, imaginative direction and some charismatic performances are the primary attractions of an artsy entry from 1983 called Rumble Fish that has definitely been influenced by some classic films of the past but definitely stands on its own as an original piece of cinema to be pondered and ultimately applauded.
Set during the late 1970's in a tight knit industrial town, this is the story of Rusty James (Matt Dillon), the unspoken leader of a small posse of thugs in town who laments the slow and methodic death of street gangs due to drugs but still has a loyal following who is reunited with his older brother known as the Motorcycle Boy (Mickey Roarke) who was a gangleader during its heyday and has recently returned to town after spending several years in California. The film slowly introduces these siblings who have been severely damaged by their alcoholic father (Dennis Hopper) and the mother who deserted them when they were toddlers, though they are in denial about it. It becomes clear that Rusty James worships his older brother and wants to be just like him and Motorcycle Boy is terrified that this might be exactly what is happening.
Based on a novel by SE Hinton, who also wrote The Outsiders, this film, co-written and directed by Francis Ford Coppola was actually directed at the same time as The Outsiders with Matt Dillon again assuming leading man duties, but that's pretty much where the resemblance between this film and The Outsiders ends. The Outsiders is told in a straightforward realistic vein, but Coppola takes a much more stylized approach here, telling a story that is rich with unconventional symbolism and a stark blend of realistic drama and idealistic fantasy that seems appropriate for the angry teen angst drama that is presented here. The film almost seems to be an answer to The Outsiders, a film that dealt directly with street gangs as opposed to this film, which seems to deal with the death of same. Coppola uses some very effective tools to display this cultural shock and its effect on these brothers and those in their orbit...there is a repeated image of smoke everywhere throughout the film, seeming to symbolize the end of one lifestyle in preparation for another that these kids might not be really ready for.
The story also presents some some really damaged characters who really aren't aware of how damaged they are, making them all the more interesting. I loved Steve (Vincent Spano) a friend of Rusty James who is conflicted with what being Rusty's friend involves and what he believes is right. Patty (Diane Lane, another Outsiders refugee) is the perennial good girl who is attracted to Rusty's soul but can't live with who the guy is on the outside. The Motorcycle Boy is consistently fascinating, established immediately as someone who once ruled the streets but wants nothing more than to escape that reputation though he's willing to utilize it to protect Rusty James at any cost. This character is what Tony in West Side Story should have been, one of several classic films that flashed through this reviewer's mind during this film, though there is nothing but loving and thoughtful influence and homage happening here. The film contains just enough sex, violence, and graphic language to attract contemporary audiences but it still manages to do nothing but serve the story and Coppola's vision.
Dillon gives one of his strongest performances as Rusty James and Mickey Roarke beautifully underplays as his older brother. Few actors do alcoholic bums better than the late Dennis Hopper did and Lane was an attractive leading lady. Mention should also be made of William Smith as a sinister cop and Diana Scarwid as a heroine junkie who is obsessed with Motorcycle Boy. Coppola also found work for nephew Nicolas Cage and daughter Sofia here as one of Rusty's boys and Lane's kid sister, respectively. The film is shot in exquisite black and white and features some stylish cinematography, film editing, and sound. A big bouquet as well to The Police's Stewart Copeland for his moody and evocative music score. A winner.
Stylish, imaginative direction and some charismatic performances are the primary attractions of an artsy entry from 1983 called Rumble Fish that has definitely been influenced by some classic films of the past but definitely stands on its own as an original piece of cinema to be pondered and ultimately applauded.
Set during the late 1970's in a tight knit industrial town, this is the story of Rusty James (Matt Dillon), the unspoken leader of a small posse of thugs in town who laments the slow and methodic death of street gangs due to drugs but still has a loyal following who is reunited with his older brother known as the Motorcycle Boy (Mickey Roarke) who was a gangleader during its heyday and has recently returned to town after spending several years in California. The film slowly introduces these siblings who have been severely damaged by their alcoholic father (Dennis Hopper) and the mother who deserted them when they were toddlers, though they are in denial about it. It becomes clear that Rusty James worships his older brother and wants to be just like him and Motorcycle Boy is terrified that this might be exactly what is happening.
Based on a novel by SE Hinton, who also wrote The Outsiders, this film, co-written and directed by Francis Ford Coppola was actually directed at the same time as The Outsiders with Matt Dillon again assuming leading man duties, but that's pretty much where the resemblance between this film and The Outsiders ends. The Outsiders is told in a straightforward realistic vein, but Coppola takes a much more stylized approach here, telling a story that is rich with unconventional symbolism and a stark blend of realistic drama and idealistic fantasy that seems appropriate for the angry teen angst drama that is presented here. The film almost seems to be an answer to The Outsiders, a film that dealt directly with street gangs as opposed to this film, which seems to deal with the death of same. Coppola uses some very effective tools to display this cultural shock and its effect on these brothers and those in their orbit...there is a repeated image of smoke everywhere throughout the film, seeming to symbolize the end of one lifestyle in preparation for another that these kids might not be really ready for.
The story also presents some some really damaged characters who really aren't aware of how damaged they are, making them all the more interesting. I loved Steve (Vincent Spano) a friend of Rusty James who is conflicted with what being Rusty's friend involves and what he believes is right. Patty (Diane Lane, another Outsiders refugee) is the perennial good girl who is attracted to Rusty's soul but can't live with who the guy is on the outside. The Motorcycle Boy is consistently fascinating, established immediately as someone who once ruled the streets but wants nothing more than to escape that reputation though he's willing to utilize it to protect Rusty James at any cost. This character is what Tony in West Side Story should have been, one of several classic films that flashed through this reviewer's mind during this film, though there is nothing but loving and thoughtful influence and homage happening here. The film contains just enough sex, violence, and graphic language to attract contemporary audiences but it still manages to do nothing but serve the story and Coppola's vision.
Dillon gives one of his strongest performances as Rusty James and Mickey Roarke beautifully underplays as his older brother. Few actors do alcoholic bums better than the late Dennis Hopper did and Lane was an attractive leading lady. Mention should also be made of William Smith as a sinister cop and Diana Scarwid as a heroine junkie who is obsessed with Motorcycle Boy. Coppola also found work for nephew Nicolas Cage and daughter Sofia here as one of Rusty's boys and Lane's kid sister, respectively. The film is shot in exquisite black and white and features some stylish cinematography, film editing, and sound. A big bouquet as well to The Police's Stewart Copeland for his moody and evocative music score. A winner.