The Young Runaways

This is a less pretentious "Rebel Without a Cause". It is lighter, more pleasant and digestible. Coughlin shines, and he also wrote the charming title song, sung by the sadly forgotten Arthur Prysock. It is highly ironic, that whereas Dreyfuss was a bit player and Coughlin the lead, five years later, the roles were reversed on the memorable Gunsmoke episode "This Golden Land" where Coughlin plays a bit part and Dreyfuss gets a chance to shine. This film is preachy, but in a respectful and loving manner. And it has an artistic dimension.

I don't know why they call this the YOUNG runaways.

Most of the actors are mid 20s to early 30s. Richard Dreyfus runs away at age 32. He's a draft dodger who speaks only in hippie lingo. Patty McCormick is lovely as a girl who meets the wrong guys. Brooke Bundy is always great to watch because she doesn't act, she just WHINES her way through every project. It is good the girls brought along their false eyelashes because jobs are scarce - except for "modeling." Brooke lost her suitcase and is taken in by two girls working as "models" willing to get her in the business. Uh oh. Entertaining. Dated. Moderate camp value. Watch for the always fabulous Isabel Stanford in a small role. Be careful out there people!

I enjoyed the film -- a 1968 scared-straight, after-school ditty with some ridiculous elements. But it also includes some really good songs -- songs that could've come from the pen of Love's Arthur Lee. I'm writing this today because Jim Weatherly -- who wrote those songs -- done died a few days ago. His best-known song is "Midnight Train to Georgia", recorded by Gladys Knight & the Pips, but the couple that are here are memorable, too. When I first saw this film about six or seven years ago on TCM and noticed the songs, I emailed Weatherly and we talked about the tunes. That wouldn't have happened with John Williams.

Three young runaways find themselves in bohemian Chicago. Shelley Allen is tired of being sold to by her rich ad-man father Ray. She escapes from a creep driver and falls into the arms of prostitute Joanne Masters who is looking to turn her. Shelley escapes from Joanne and her Johns. She is saved by Dewey Norson who ran away for a mysterious reason. Deannie Donford is tired of her sexually repressed mother and father (Norman Fell). She moves in with musician Loch but then sleeps with his roommate Curly. A young Richard Dreyfuss has a supporting role. Meanwhile, the parents are searching for their kids.

This is a little transitional movie where the morality is mostly 50's but it's incorporating the 60's mostly as a cautionary tale. It doesn't give the parents a pass either. There is an attempt to bridge the gap. It's interesting to do the 60's in Chicago away from the cultural centers of NY and LA. It's also fun to see a young Dreyfuss doing his thing in one of his earliest film roles. The Deannie side of the story seems disconnected from the rest and could easily be cut. Mostly, this plays like a scared-straight movie.

In 1974, our vice-principal -- who was also our guidance counselor -- made us watch this film. We were in Grade 8, it was the last week of school before the summer holidays, and we were soon going to experience the frightening world of high school.

Needless to say, we were completely absorbed. Our vice-principal's attempt to scare us straight certainly worked. To this day, I have never stolen a car! Thanks, Richard Dreyfuss.