Rusty il selvaggio

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.

I saw Francis Ford Coppola's Rumble Fish in a film class, and it was interesting to see how certain scenes were made (seeing transitions and shots in slow motion, stopping to point out things), among the plot. From S.E. Hinton's novel, he assembles a breakthrough cast (a lot of teens) who show they can get into the characters quite effectively. And for those who love the technical side of a film- how it was made and what went into the shots and the meanings of shots- will have a feast that will turn them off or have them asking for more (or the rumored 8-hour cut, perhaps).

The story deals with characters who are struggling through life, stuck in a town where the environment seems nostalgically black and white, and only glimpses of color arise. We are given the story of two brothers- the one who takes a chunk of the story is Rusty James (an excellent, young Matt Dillon), a tough, sometimes ignorant teen who has all the strengths and weaknesses of the high-school 'rebel', taking after his AWOL older brother. The other is Motorcycle Boy (Mickey Rourke, perfect in his quiet and touching presence), who left his town and his reputation behind to go to California. He returns to find Rusty James getting in over his head, and all his best efforts to keep him cool are mired by old wounds (some wounds involving their parents, others by the effect the atmosphere left on him). There's also keen supporting work by fresh faces- Nicolas Cage, Chris Penn, and Laurence Fishburne as friends and sometimes followers of Rusty; Diane Lane (wonderful even in her youth) as a sweet/sour love interest; and Dennis Hopper as the father of Rusty James, who appears just enough to get the psychological points across to the viewer.

Coppola tends to use his symbols rather thickly, and it's arguable if he may show things too much, or maybe if he shows them just enough (i.e. skies darkening, clocks). Yet it doesn't stop him from creating indelible images- practically all the shots in the film could be put on a wall and look as great as any other by a professional photographer. With Stephen Barum and Dean Tavoularis (photographer and designer, respectively) scene after scene experiments with techniques (the fish is just a taste of this), and it's rather authentic in its respectfulness of the material. For example, in the gang fight, the style with which Coppola introduces characters controls the mis en scene, the editing and the use of shadows, all of this in this one sequence displays the tremendous directorial vision Coppola can have on a film.

It's not really a joyful film, and the downward spiral motif of the story may make some depressed with what they're seeing. But, if you want to see a very well-crafted film, the kind that gets better on repeat viewings (as with the Godfather films and Apocalypse Now), check it out- at least a viewer will get the sense of concise, complex film acting by young stars.

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.

They say art films died out in the '80s, and they also say Francis Ford Coppola sold out after "Apocalypse Now," but this is truthfully his last visionary film. It may not be a flawless masterpiece on the same level as the aforementioned movie or "The Godfather," or even "The Conversation" (one of his absolute best), but it's still very good - beautiful to look at, poetic, and visually stimulating.

It was the second film he released in 1983 adapted from an S.E. Hinton book. His first ("The Outsiders") was cleaner than this. "Rumble Fish" has a lot of violence, a lot of swearing, and a decent amount of sex/nudity. It is the flip side to "The Outsiders"; and in my opinion, the more mature work of the two (although both are very good).

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.

We are led to infer that The Motorcycle Boy was a sort of rebel hero - a type of Robin Hood, as Rusty James says - and the entire town loves him. As a result, Rusty James "can't live up to his brother's reputation...and his brother can't live it down," to quote the film's tagline.

But The Motorcycle Boy returns one day in the form of Mickey Rourke. He rescues his kid brother from a violent underground fight with a group of thugs and takes him back to the safety of their home.

The Motorcycle Boy has come back in order to make amends, one supposes; or at least because he feels as if he has an obligation to see his father and brother again.

Meanwhile, Rusty James - in a desperate intent to match his brother's reputation - continues his downward spiral of street fights and violence, resulting in more than a few bloody brawls.

"Rumble Fish" is displayed in grainy black-and-white, and the soundtrack itself is surreal, often featuring fragments of distorted audio matched with hazy visuals. At first it doesn't seem to make sense, but then it is revealed that The Motorcycle Boy has a hearing problem that comes and goes at random (typically when he is under stress) - and is colorblind, which explains the b&w photography.

This is a great decision by Coppola because it gives the film an authentic feeling; at first, we feel as if we are following Rusty James' plight, but then once we pull back it becomes obvious we are watching through the eyes of The Motorcycle Boy himself. Coppola's experimentation with color in a few shots is something we're only now seeing take form again in movies like "Sin City" (which also featured Rourke). "Schindler's List" had a few moments of color and b&w, too, but it wasn't as frequent.

The performances are excellent. An all-star cast includes not only Dillon and Rourke but also Diane Lane (who was also in "The Outsiders" with Dillon), Dennis Hopper, Diana Scywid, Vincent Spano and Nicolas Cage.

Dillon's performance is key to the film because essentially this is his story, but it's being narrated to a certain effect by The Motorcycle Boy (at least insofar that it's his problems taking form in the narrative) - and Rourke gives a terrific performance. His moody, quiet embodiment of The Motorycle Boy leaves a lasting impression; his character comes across as a somber, reflective and ultimately regretful man who made bad decisions in his past and now wants to protect his brother from the same thing. It is implied that he may even have become a mail hustler on the streets of CA; his persistence to not tell any details of his adventure, and the fact that he sees a photo of himself posing in front of a bike ("taken by a guy in California," he tells his brother) in a magazine, and then asks Rusty James not to tell anyone, could be perceived as such. Or maybe not. It all depends on how far you want to look into it.

"Rumble Fish" may not be Francis Ford Coppola's best film, but it is one of his most sadly underrated movies and is probably worth mentioning in a list of the best films of the 1980s. In a decade where American art-house seemed to be a lost thought, "Rumble Fish" stands out as one of the few.

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