Vier irre Typen - Wir schaffen alle, uns schafft keiner

This is my absolute favourite coming of age movie! It has an endearing teenage hero, an engaging story, a touching theme, an amazing musical score, and an abundance of humour. The story revolves around Dave Stoller and his three buddies, four misfits who have just graduated from high school.

Dave recently received a bicycle as a gift, has become a good racer locally, and his heroes are the Italian Cinzano racing team. To the consternation of some, his life begins to revolve around his dreams of becoming a racing champion, to the extent that he basically tries to turn himself into an Italian. He learns the language, absorbs the culture, listens to its operas, and gives his cat an Italian name Fellini! He even pretends to be an Italian exchange student in order to impress a pretty sorority girl named Katherine, whom he calls Caterina and feels would otherwise be beyond his reach.

Dave makes an appealing hero, wonderfully portrayed by Dennis Christopher, vulnerable but with an amazing joie de vivre. His hilarious attempts at becoming Italian, for example shaving his legs like their men but not their women, proved one of the highlights of the movie. The scene where he serenades his Caterina at her sorority house has to be one of the most charming in all filmdom. I was also bowled over by his endearing enthusiasm when he discovers "The Italians are coming!", that his racing heroes will soon be arriving in his hometown of Bloomington, Indiana where the entire tale is set, culminating in the Indiana Little 500 cycling race.

Dave is a kid who doesn't think he is good enough for college, lives in a fantasy world of Italian cycling, and wants to break away from his own aimless, mundane life. This is a typical coming of age movie in that he learns a lot about himself and the realities of life, especially from the behaviour of his heroes, the Cinzano racing team. His three sidekicks are a sympathetic bunch -- the rebellious, angry Mike, the short, feisty Moocher, and the goofy, appealing Cyril who seems to have no family. Through competing against the college crowd in the Little 500, they learn lessons in self esteem and team spirit, believing in yourself and striving toward reachable goals.

Breaking Away is a movie with obvious social class themes. Dave and his friends are "townies" called Cutters, named for the stonecutters from the town's quarries. The students at the nearby college campus look down their noses at these Cutters. However, Dave's father, who is a car salesman lacking a college education himself, teaches his son to take pride in the name, that it was stonecutters who built these impressive college buildings.

The film is refreshingly unusual in having a major sympathetic role played by Dave's parents. I absolutely loved the father, portrayed by Paul Dooley, the source of much of the film's humour, announcing for example that he doesn't want anything in his house that ends with 'ini'! Mr. Stoller despairs of his son's Italian phase, fearing verbally that Dave is going to wind up an Italian bum! Both the marital relationship between Dave's parents and the bond between father and son are captured with poignancy as well as humour.

When I first saw this movie after its original release, the thing that remained with me besides the charming joie de vivre of its hero was the wonderful Italian music, from Mendelssohn's Italian Symphony and a Rossini opera. This musical score provides magnificent accompaniment to the bicycle racing sequences, especially one in which Dave is racing the Cinzano truck on a highway heading toward Bloomington!

This is a heartwarming movie that no one should miss. It may be almost thirty years old but its characters and story are as engaging as the day it was released. I won't give it away, but that last scene is priceless!

I was nine years old when I first saw 'Breaking Away', and I think the book adaptation may have been the first more-or-less novel-length thing I ever read. My wild enthusiasm after leaving the theatre was similar at the time to my previous reaction to 'Star Wars', a fact that I attribute to the natural electrical charge of the endings of both films.

Of course, a nine-year-old lacks the world experience to empirically understand the central messages of this film, and at the time my primary devotion to it was centered around Dave Stoller's orange Masi racing bike, a thing that I coveted with the passions of a kid on Christmas Eve.

The movie made me mad with bicycle lust, and I frowned on every Huffy I saw at school. I used to draw pictures of Masi, Bianchi and Olmo bikes all the time after seeing this, and I shamelessly begged my parents for an Italian-made, Campagnolo-equipped racer - a futile thing to do, as my parents knew not to purchase something that expensive for a boy who would physically out-grow a pair of Levis within a school year. Ultimately, I was propelled into the worship of Eddy Merckx while all my classmates were digging into their Terry Bradshaw Topps cards, unaware - as I'm positive they still are - of who the hell Eddy Merckx even is.

BUT...'Breaking Away' is not just a bicycle film - not by a long-shot, and I knew it then too, but that just wasn't very important to me at a time when bicycles were all-important.

Despite my youthful energies, I never did pursue bicycle racing,(although I am definitely a touring enthusiast whose passion for Italian-made bicycles has finally seen fruition) but 'Breaking Away' never left me. It was the REST of the film that eventually got to me - and somewhat later in life - when my emotions and experiences with the world ran deeper.

In short, this film explores many strands: the aimlessness of youth colliding with the responsibilities of adulthood; the often heartbreaking romantic fantasies of people who wish they could be something else; lying and cheating and the false nature of gains made through them; the importance of strong family relations and friendships; and life in small-town America - and it does all this with extraordinary craft, honesty and sensitivity. It's beautiful, and more importantly, it is soulful and original. Although certainly dated in appearance, I'll even toss in the cliche that it is *timeless*, because the themes and characters are so.

The characters themselves are all wonderfully brought out by the perfect casting - it's been said here, but the fact that Dennis Christopher never achieved star-status is truly a shame and a waste of a potentially amazing talent. He played the lead role with a believable intensity and a really quite perfect understanding of his character. Dave Stoller's painful self-realization after the Cinzano race was as memorable a job of acting as I can think of. Paul Dooley and Barbara Barry were also wonderful, as were Quaid, Stern and Haley - every one of them created a personality for their characters, both in dialogue and physical reaction. The rest of the cast was likewise fine, each actor doing the best they could with what were sometimes stock roles (the college kids, for example, including Robyn Douglas, the female romantic role)

The direction, story and, most especially, the dialogue were great as well.

I also picked up a love of Mendelssohn and Rossini when I was just a kid after seeing this - the film score was superb, all the while taking the Stanley Kubrick/Woody Allen approach by choosing some choice compositions of a time long past, rather than belabor the audience with the refried horrors so typical of modern film-score composition.

I hope this movie doesn't become a relic - it seems its own sleeper status has kept it shelved over the years. Mention it to just about any American born before 1975, and they'll know what it is, but only in the way I did when I was nine: they'll usually say something like, "oh yeah, the bicycle film! I remember that one", and then they'll likely have little else to say about it, which is a shame. I still whole-heartedly place this movie among my very favorites every time, and I trumpet it whenever I get into discussions with other people about the movies I love.

Breaking Away is a picture that is better than the sum of its parts. Oh, its parts are wonderful. The writing is sharp, observant, and funny (It won an Oscar!), the acting is superb (how Paul Dooley was nixed a nomination never mind the award I'll never know), and it is a well shot film. But its charms go even deeper. It is the story of four young men in their late teens, who are staring adulthood in the face after a year of leisure in the "small town" of Bloomington, Indiana, and how they deal with watching successful college kids pass them by. It is also about a young man in search of an identity (including that of a Italian bicycle racer), and of a family that is loving and supportive, almost in spite of itself. All these add up to a richly enjoyable, deeply moving family picture that gives us many moments to treasure (a large number include Paul Dooley as the frustrated and confused, but eventually loving father). Like other sports movies (the lead character races bicycles), it has a contest at the end, and like many much poorer ones, it ends with triumph. But we cheer not only for these immensely likeable "cutters," but for ourselves, for being treated to this bittersweet, touching, and wonderful movie.

I recently saw this on the big screen here in Tokyo (July 2012).

I hadn't seen it for years, going back decades probably. I saw it originally when it came out, as I was only a couple of years junior to those portrayed on the screen. Like others have mentioned, the acting was superb and true to life. Not one second on screen do you feel anyone is acting. Dennis Christopher as lead character David Stoller is really a joy to behold. His enthusiasm is never forced or fake. He pulls it off beautifully.

And Dennis Quaid's Mike character is probably all too common in this world of high school stars peaking with graduation. His story is quietly repeated among so many who saw their best years in high school only to watch others get the longer lasting glory. The speeches he gives are poignant, deep and yet perfectly fitting of his character. He does a wonderful job of showing the frustration of change.

Daniel Stern's Cyril is perfect as the more comical of the bunch - simply perfect casting. Some of his lines are just priceless.

And Jack Earl Haley and 'Moocher' looks like so many of us looked like back then, me included (though I wasn't short). Long straggly hair, t shirt, jeans and string-bean skinny.

Paul Dooley and Barbara Barrie were wonderful. As were the brief shots of others at the Little 500. I can only imagine they were locals hired as extras.

Hart Bochner (Lloyd's son) did a fine job as the snob jock. Gotta admit, they didn't come better looking than that back then. I sometimes wonder if Paul McTiernan didn't intentionally subject Hart to that somewhat comical but deadly ending in "Die Hard" out of payback for being such a jerk in "Breaking Away".

Katherina played by Robyn Douglass was wonderful. She had that perfect look of girls you would just die for back then. She even resembled a girl me and my pals were all in love with back in Chatham Township high school. I loved her scenes and her moment when she finds out the truth. Really jolts you out of your seat. Choked me up.

Watching this film really made me aware of how we've changed, not just in our clothing or hair styles, but in our entire lives. Everything is brand-name now, everyone is so conscious of who made the object they desire and how much it cost. The more expensive the better. Everything is new and shiny. Every single element in a movie is examined from eyeglasses to shoes to pens. Everything is measured for its affluence and brand quality.

Back then, we had Schwinns, Huffys, Raleighs, even Sears and whatever else we could afford. We wore clothes just like those kids in the movie wore, T shirts, old jeans cut-offs in summer, and ripped up sneakers. We had fishing holes or swimming holes and spent enormous amounts of time riding bikes, or just laying in the grass or on rocks in the sun, or up in some tree house, just thinking or talking or planning out the universe... and also about girls, which none of us had actually had any meaningful contact with yet. A magical time in a boy's life.

Reminds me of the time we discovered an old playboy in the woods under a fallen tree. It was a huge deal with us at the time. We'd hide it back under the tree trunk wrapped in some plastic and go back to it when we were back there. Nowadays, the most descriptive and graphic porn that even Ripley wouldn't believe is simply a click away 24/7. It's a different world, indeed.

(Ironically, as a side note, the Playboy issue, we found out years later was the one that highlighted the ill-fated Dorothy Stratton.)

Nowadays, can you imagine anyone, especially a 19 year old kid sitting still out in nature or anywhere else for that matter for even ten seconds without whipping out a smart-phone or some other gadget? Or being seen not having just the right clothes, just the right Nikes or Adidas sneakers? We had converse back then, and they were the cheap sneakers.

It's just sad that such a time in life is gone forever, not just in the styles which were, yes, sloppy, an unkempt, but in the way kids lived. It's an entirely different world today and I wouldn't trade my childhood in the 70s and early 80s with any kid today for all the money in the world.

I sat through the film twice, loving it so much and knowing I'd probably never get a chance to see it on the big screen again. Watching it with tears in my eyes, I really felt such an urge that if I could have, I would've climbed into that screen in a second to go back to that time once again that is never more. Just like Willoughby must've been to Rod Serling.

This film was a pleasant surprise. No sex, no violence, no special effects. Just an incredibly literate and humorous script (which won an Oscar for Steve Tesich) and fantastic performances by the four leads. This is a film for those who still believe that good cinema requires meaningful dialogue and acting that is achingly real in its sincerity. Don't get me wrong: sex and violence have a very real and justifiable place in film; but this movie would have suffered from such a gratuitous inclusion. Peter Yates, the director, has done a fantastic job of pacing the film, and the score, consisting mostly of Rossini overtures, and excerpts from Mendelssohn's "Italian" Symphony (#4 in A Major, Op. 90), is an inspired touch, adding precisely the right atmosphere. This is the kind of low-budget triumph that the film community constantly extols for P.R. purposes, yet never supports with actual awards.