A Gangue da Pesada

Philip Kaufman is a great director (true some of his films are not my cup of tea, so to speak, such as "Quills" & "the Unbearable Lightness of Being", but he's had his hand in "The Right Stuff", "Indiana Jones" & "the Outlaw Josey Wales", and that ALONE qualifies him for greatness) This film is one of my favorite coming-of-age movies, having never read the book it was based on didn't deter me from falling in love with this movie. The whole cast does spot-on performances and you grow to really feel for these characters and while it seems a bit episodic, it all ties together in the end. Many memorable scenes and an amazingly good soundtrack. Definately in my top 20 of all-time.

My Grade: A

DVD Extras: Commentary by Philip Kaufman; Theatrical Trailer

This movie is special. It has a great flow, a great story, and captures the essence of the early 60's in NY as the times change. The acting is spontaneous, and the music has to be one of the best soundtracks I have ever heard in a movie. Not just because the songs are good, but how they help tell the story. They come in at the right time, and give goosebumps throughout.

Two of the best scenes in the movie ---- absolute chills down the spine ---- when the women are crying on the street for Kennedy, and the song "Stand By Me" (Ben E. King), provides an indication that there is a shift at that moment in culture. The Wanderers days are numbered. The other scene is the poker game with the girls. Ken Wahl and Karen Allen are priceless, and the song "Baby it's you" is unbelievable.

If you like a little history, some classic songs, and a really good story, mixed with good writing and great acting, this movie is a absolute must see. A Classic. One of my favorite movies of all time.

One of the greatest scenes ever put on film is in this movie: Ken Wahl, about to get married, facing the transition between youth and responsibility, peers through a window at the action at Gerdes' Folk City in Greenwich Village, where, he dimly senses, there's a whole new world beyond his comprehension...it's pure gold, like most everything in this movie. I don't recall rock'n'roll songs ever being put to better or more appropriate use in a sound track. I don't recall a movie ever shifting more seamlessly, effortlessly, from gritty naturalism to bizarro impressionism and back. The cast is great! Whatever happened to some of these actors? There really was a Fordham Baldies, and I grew up not far from the old Alexander's in the Bronx, so I can't pretend to objectivity. For me, this is rather like a New York version of American Graffiti; it creates a world that I feel at home in, even if I never was a gang member and we left the Bronx when I was eight. By the way, the adaptation from Richard Price's book is, I think, remarkable. The book is a series of thematically linked stories that become a single organic story in the film. And I can't blame Ken Wahl--or his character--from being besotted by Karen Allen. Personally, I'd have gone right into Gerdes and flung myself at her feet. Oh yeah, the late Dolph Sweet is superb here.

The Wanderers, an Italian street gang in the Bronx 1963, preparing for a rumble with rival gang the Del-Bombers, try to enlist other gangs to help their cause. However, as the times are a changing, The Wanderers and all the other gangs of the city must come to terms with pending adulthood, and, the ending of an era.

Directed by Phillip Kaufman, this adaptation of Richard Price's novel stands up as one of the best pictures to deal with gang culture. Laced with crackling adolescent humour, and sublimely sound tracked, The Wanderers triumphs better than most because it captures the time frame perfectly. Encompassing the killing of JFK, and subtly showing (during an hilarious sequence) the enlisting of ignorant youths into the Marines, to be carted off to Vietnam no doubt, The Wanderers has far more to offer than merely angst and high school jinx. The cast are surprisingly strong, Ken Wahl, Karen Allen, Tony Ganios and Erland van Lidth all shine in their respective roles, whilst Kaufman directs with a knowing sense of purpose of the thematics to hand. All of which culminates in a quite eerie final third as the deadly Ducky Boys enter the fray. Not quite as serious as The Warriors, which was released the same year, it's a film that much like this one now feels part of my teen education. The Wanderers is however the smarter picture of the two in terms of substance. The coming together at the finale, the racial harmony bursting out from the screen, is and always should be eternally embraced.

All together now, "I'm the type of guy who will never settle down" 8/10

Interestingly enough, most of the gangs portrayed in the film were neither symbolic nor imaginary, but were based on various real gangs who existed at different periods throughout the fifties and early sixties.

Many of these gangs were not real gangs in the common theatrical sense, but were specific ethnic groups of teens from different Bronx and Manhattan neighborhoods. Of course, each group developed its own mythical idea of what the other groups were like, and in his novel, Richard Price used much of this teenage myth and lore.

Of all the well-embellished epics common to the teens in the Wanderers' neighborhood , those dealing with the Duckies were the most detailed and commonly accepted. The Duckies, whether or not they were truly an organized group with such a name, were "the guys across the tracks", insofar as The Wanderers were concerned (the tracks being the NY Central's Harlem Line). They lived in the predominantly Irish neighborhood directly across Bronx Park. I believe their frightening, near demonic quality in the movie was based on a single actual event when two of the Wanderers were actually attacked in the park. Since The Wanderers had never really engaged in any real "gang wars" (or any significant fighting for that matter), that particular episode was the source of most of their perceptions of the Duckie Boys' penchant for unbridled violence.