Rusty il selvaggio

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.

Yes, this was an effective, well-acted and visually stimulating art-house movie - the forgotten masterpiece of Francis Ford Coppola. I just recently watched this again and fell in love with it. I was a big fan of S.E. Hinton's writings growing up and this film did it justice. It's interesting that author S.E. Hinton claims that the script to this movie was written "on one of the first personal computers" in less than two weeks. How technology has changed nowadays with Final Draft. Matt Dillon gives his best performance as Rusty James, a 1950s street punk whose alcoholic father has all but walked out on him, and whose older brother (an enigmatic figure known only as The Motorcycle Boy) has left and moved to California some time ago. Dig this one up again. It's a classic.

Youth alienation seems to be the obvious theme of this story about a high school kid named Rusty James (Matt Dillon), a big believer in rough, angry neighborhood gangs, and his long-lost older brother who unexpectedly returns. Perhaps at a more subtle level, the story's theme relates to the passage of time, in hours and years, as evidenced by the film's visuals of passing clouds and the presence of clocks in numerous scenes.

The story is thin. Rusty and his "gang" hang out, talk, walk around a lot, get angry, encounter various characters that appear in some scenes, then disappear. Ultimately, the glue that holds the plot together is the relationship between Rusty and his enigmatic, somewhat intellectual older brother, no longer a gang leader, who now functions as Rusty's mentor who over time, wised up. The story's era is unclear.

Casting is okay except for a disconnect between story location and character accents. The setting is supposed to be Oklahoma; yet, most characters, and especially Rusty James, speak with a thick New York accent. Director Francis Ford Coppola made the same mistake in "The Outsiders", using the same location and some of the same actors.

The film was shot in B&W, except for a couple of scenes where aquarium fish appear in red and blue. Overall photography is interesting in that visuals have a look and feel influenced strongly by German Expressionism, and include low-angle, noir lighting, heavy shadows, smoke and fog, and a few weird camera angles. Visuals in many scenes convey a gritty, dingy, urban look.

In the copy I watched, dialogue sounded muffled and hard to understand. Background sounds combined general urban clanking noise with the rhythmic based ticks of a clock and light jazz to create an interesting if perhaps contrived overall soundtrack.

An art film that was not well received by audiences when it came out, "Rumble Fish" would appeal to an art house audience but probably few others. I found the story talky and boring, though the B&W visuals were interesting in a stylized sort of way.

After hearing such rave reviews, I really was excited to see Francis Ford Coppola's indie classic 'Rumble Fish'. The film was shot in black and white and it had an expansive cast of talented actors including Matt Dillon, Mickey Rourke, Dennis Hopper, Diane Lane, Laurence Fishburne, Tom Waits and Nicolas Cage. I enjoyed Francis Ford Coppola's other films like Apocalypse Now and of course The Godfather Parts I, II & III. From what I heard it was filmed kind of like this year's smash hit 'Sin City' ('Rumble Fish' was black & white but with dashes of color) only on a smaller scale. I rented this indie sensation when I was on vacation because they had it in the hotel video store. I couldn't find it in the Blockbusters in Arizona (where I live) and my portable DVD player was acting up so I couldn't view the DVDs I brought a long with me for the trip. It may have been just fate that I got the opportunity to view Coppola's 'Rumble Fish', definitely one of the most, if not the most inventive motion pictures I ever gazed my eyes upon.

The film is set in a 1950s - 1970s setting. With it's black & white color and just the way the film is presented it gives the audience a feel of the old 1930s James Cagney crime noir flicks. It follows a young and dumb hoodlum named Rusty James (Matt Dillon), whose the leader of one of the two gangs in town. After a huge rumble played out like a West Side Story scene from hell, Rusty is left hurt real bad when the opposing gang leader stabbed him in the gut with a switchblade. Coming to Rusty James' rescue is his older brother, The Motorcycle Boy (Mickey Rourke) who hasn't shown his face in town for a year after disappearing to California. The Motorcycle Boy helps his younger brother out, and eventually starts to hang around the neighborhood more. From there, the plot follows the two re-united brothers as they hang around the streets and cause trouble, while the Motorcycle Boy tries to teach his less then intelligent brother the meaning of life. Dennis Hopper stars as Rusty James and the Motorcyle Boy's dad, Diane Lane stars as Rusty James' sweet friend, Tom Waits stars as the grill master in the town's diner, and Chris Penn, Laurence Fishburne and a young Nicolas Cage are featured as some of Rusty James' gang buddies.

First of all, I adored the way 'Rumble Fish' was shot. With his extraordinary talent, director Francis Ford Coppola really creates a thing of beauty and opulence with 'Rumble Fish'. The only real downside of this picture is that the plot drags entirely too much, and that's pretty bad for a film running only 90 minutes. The writing is mostly good, but 'Rumble Fish' seems to be missing a real plot. The film substitutes hypnotic cinematography and cool scenery for an easy-to-follow plot, which in my opinion is a big mistake. Although this kind of bugs me, 'Rumble Fish' is a good film for the most part. The acting is superb with a engrossing and passionate performance by a very young Matt Dillon and a powerful and carefully layered performance by Mickey Rourke who in my opinion should have gotten an Oscar nod for Best Supporting Actor. Diane Lane is very good in one of her first roles, Dennis Hopper plays the alcoholic clueless dad perfectly and Tom Waits is a pleasure to watch. Nicolas Cage and Laurence Fishburne are also rock solid. If you want to see a film that's really out there and full of likable qualities, I'd recommend picking up 'Rumble Fish' your next stop to the video store. Chances are you'll find something or somethings to love about it. Grade: B

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.