Rusty James

I saw Rumble Fish in a small a cinema in Dublin when it came out in 1983. It became a cult hit around town and was shown every Monday afternoon for for £1 for months. I bunked off work often to see it as did many people, I got to know. It's hard to say what made it quite so special, god knows I've tried over the years in those party/pub moments when the conversation is flagging and someone asks, 'what is your favourite film?' Obviously they want to know why when you come up with something they've never heard of, hate or are indifferent to. I read Susie Hinton's books afterwards and also sought out the Outsdiders (also from a Hinton novel) which was made at the same time and was a good film with some of the wistful intensity of teenage life so strong in Rumble Fish but was like the straight, conventional brother by comparison. I think Susie Hinton went straight to Coppola's heart and she worked with him on the two films, even appearing in cameo in both. It is amazing to me that her books were marketed as teenage fiction, they are to my mind mature American fiction and transpose beautifully to the screen. The plot is a simple one and necessarily so yet the implications are universal. The style, camera-work, casting and soundtrack work together so well. I don't think that even in the Godfather Coppopla ever got it so right. The dreamy quality of the film, the distorted imagery and the fantastic soundtrack reflect the physical and mental damage suffered by the James family, Rusty's brain damage from one too many rumbles, Dad's alcoholism and the Motorcycle Boys colour blindness, depression and death wish. It's like an elegy for the old west and the constraints of small town life, John Ford meets David Lynch. It also marked the beginning of the end for Zoetrope studios and we'll never know what great movies we lost when that motorcycle gang left town.

I have to admit having a soft spot for this film as I have for Apocalypse Now, though perhaps Coppola could never quite carry out a truly inventive directing style. His films mostly seemed somehow constrained to an unchallenging format, and avoided the complexity, surrealism or depth so often used to great ends by film directors. Coppola's films will always seem to this author to be part of that distinct class of "Hollywood Films", though some are arguably "really good" Hollywood films.

As often the case with good films, Rumble Fish featured a fantastic collaboration of other great artists. This talent comes together to create something memorable on film which communicates, as few films have, a certain mood or feeling that is perhaps peculiar to the American midwest, especially during the 1980's. Something about the antipathy of growing up in such a vast, apathetic, culturally blank, comfortably mediocre place and attempting to go beyond it or find something in it, like punching your way out of a cardboard box only to find that things seem just as dark and empty on the outside. It should be made clear that this author also comes from that midwest and identifies with this theme, so there is some bias in this review, but this may apply to other "midwestern refugees" as well.

Fans of S.E. Hinton, on who's book the film was based and who co-wrote the screenplay, will appreciate the film, as well as fans of Tom Waits, Stuart Copeland (of the Police and little known project Klark Kent- which closely resembles the soundtrack), Mickey Rourke, or any of the (then) young, up and coming actors like Matt Dillon, Nicolas Cage and Diane Lane.

Rourke is at one of the peaks of his young career here, a cool rebel without a cause type, vaguely reminiscent of young Peter Fonda or James Dean- a striking character. The film has memorable scenes and lines, one of which is Dillon's character saying to the fatalistic older brother- "Motorcycle Boy" played by Rourke, something like- "People would really follow you anywhere, why don't we do something?", to which Rourke responds- "Yeah, they'd probably follow me right down to the river...and jump in."

Similar scenes and numerous references to time passing away seemed to summarize the hopeless stagnation of growing up nowhere and proceeding to go nowhere. Groping in the dark for everything or anything meaningful in the context of a forgotten, lifeless irontown where even the young seem more like ghosts trying desperately to become tangible in some sense, and the middle aged are already on some other world.

Other films that come to mind- James Dean films; "Reckless", another Hollywood film released a year later, with Aidan Quinn (as "Rourke"- coincidence?), and Daryl Hannah, was semi-successful in making the occasional reference to a similar blighted steeltown theme, though overall it was spotty; "Dogs in Space" with Michael Hutchence of INXS was a punk classic, and had some of that "nowhere with style" appeal with an Australian twist; two other 1980's films the author never saw- "Down by Law" and "Rivers Edge" probably fit somewhere in here as well.

Rumble Fish is a strange and hypnotic film that follows the character of Rusty James, a young punk growing up in a small sleepy mid-western town, shackled to a drunken father, a group of fickle friends, and continually in the shadow of his enigmatic brother, The Motorcycle Boy. The film, although seemingly set in the present day, uses the style of the old 50's melodramas to great effect, referencing the likes of Rebel Without a Cause and The Wild One with it's stark, stylised black and white photography and it's bizarre compositions, whilst director Francis Ford Coppola uses a number of audio and visual effects familiar from his previous films, most notably, The Conversation, Apocalypse Now and One From the Heart, to give the film a strange, hypnotic and dreamlike quality that lingers throughout the film.

As with many of the other films that it references, the plot to Rumble Fish is quite simple, with Coppola building the film around the enigma of The Motorcycle Boy and around the ideas of family ties, small-town ennui and personal redemption. Although Rusty James is the film's central character, he is constantly overshadowed by his mysterious brother, who seems almost shell-shocked by whatever it is that he's witnessed during his years away from home. He is certainly one of the most interesting characters from any of Coppola's greater films, and is perfectly brought to life by Mickey Rourke in what is possibly his greatest performance ever (although, I think he's equally spellbinding in both Angel Heart and Year of the Dragon). Here, Rourke possess all the cool and feckless attitude of Brando and James Dean, but he also brings that damaged, somewhat alienated quality to role, which suggests so much about the characters and his past and also, about the possible future of the younger Rusty James.

The cinematic style of the film is exquisite, with Coppola invoking a real period feel through the use of photography and production design, which jars beautifully against Stuart Copeland's very 80's, very anachronistic score. The percussion suits the staccato editing style that Coppola uses in the first few scenes (which highlights the escalating boredom of the characters), whilst the use of time-lapse photography (inspired by the film Koyaanisqatsi, which Coppola produced) works perfectly in demonstrating the idea of time frittering away. The black and white photography works well, conveying the literally "black and white" view point of Rusty James, whilst the titular rumble fish (glimpsed through the window of the local pet store) are the only objects in the film that appear in colour (a nice metaphor). The sound design is purposely muddy, attempting to convey along with the images that skewed, slightly alienated view of the world that these characters possess, whilst Copeland's music also merges with the sound design to heighten the overall atmosphere of the film.

The acting is strong throughout, with Rourke coming across as the real standout, although the performance of Matt Dillon as the hotheaded and arrogant Rusty James is also impressive. The supporting cast features a wide array of cult performers and (then) unknowns that have now gone on to greater things, notably Dennis Hopper, Diane Lane, William Smith, Laurence Fishburne, Nicolas Cage, Tom Waits and Chris Penn. After Rumble Fish, Coppola would produce the problematic Cotton Club (possibly underrated), before cementing his reputation as something of a has-been with the third Godfather film, and throwaways like Jack, Peggy Sue Got Married and The Rainmaker. Because of this, Rumble Fish stands as something of a relic to the time when he was one of the most interesting American directors of his era... and is probably a film to rival the greatness of The Godfather, The Conversation and Apocalypse Now.

"Rumble Fish" (1983) Rated "R" by the MPAA for Adult Situations, Profanity, Brief Nudity, Some Violence, Minor Gore, Brief Drug Use & Underage Alcohol Use. Running Time 1hr&34mn. My Take: ***1/2 (Out of ****)

"Rumble Fish" just might be Francis Ford Coppola's most overlooked film.

This movie, based on the Susan E. Hinton novel, tells about young street tough Rusty-James (Matt Dillion) who idolizes his older brother known only as 'The Motorcycle Boy' (Mickey Rourke).

Rusty-James longs for the days of rumbles and being a part of a gang. His friends are somewhat reluctant to feel the same way. His girlfriend Patty (Diane Lane) goes to an all-girl prep school. She's supportive of Rusty-James' need for acceptance and wanting to be cool like his estranged brother. "You're better than cool", she reminds him. "You're warm!" That's also a warning. Will Rusty-James heed?

Subtly, this is a film about the failure of the 'American Dream' and making choices, whether right or wrong. After all, Rusty-James' family fell product of the socialization process. They live in the slums, but that may not always have been the case. The boys' alcoholic father, memorably played by Dennis Hopper, was once a well-to-do lawyer earlier in life. What about the enigmatic Motorcycle Boy? Is he truly crazy? Or does he have 'an acute perception' that drives him crazy?

Brilliantly shot in black & white, Stephen H. Burum's cinema-photography makes "Rumble Fish" feel like something out of a chaotic dream. Everything is surreal, yet relative to each other. Clouds stream by overhead symbolizing the passage of time. Clocks appear throughout the movie suggesting time-is-a-burnin'. The suggestion here is: don't waste the time you do have while you still can. Stewart Copeland's almost all percussion and highly rhythmic score adds to that effect.

In "Rumble Fish", Coppola skillfully addresses the need to belong, to lead, to have goals, to have vision and warns not to fall deeper into an urban trap. Will Rusty-James discover what it means to step out and become his own identity before it's too late? As The Motorcycle Boy points out, "If you're going to lead people, you need to have somewhere to go."

That's good advice.

Francis Ford Coppola's most personal film is also one of his best - in its own way just as good as APOCALYPSE NOW and THE GODFATHER films. Those who wonder why Mickey Rourke is so revered by cult film fans need look no further than his almost-hypnotic performance as The Motorcycle Boy. But Matt Dillon is just as good as his younger brother, and when you also have the likes of Nic Cage, Diane Lane, Dennis Hopper, Laurence Fishburne, and Chris Penn in the supporting cast, you know it's a once-in-a-lifetime movie. The look of the film - a sparse black-and-white urban landscape - is perfect, as is Stewart Copeland's atmospheric music. But aside from the visual and aural pyrotechnics, what really singles this out as a bona fide classic is its spot-on portrayal of disaffected youth. When Hopper describes to Dillon how Rourke has simply been "miscast in the play", I still feel shivers running down my spine...