With his self-financed studio on the line after ONE FROM THE HEART/’81 tanked, Francis Coppola (Ford-less at the time) got a welcome cash reprieve adapting S.E. Hinton’s THE OUTSIDERS/’83 (https://maksquibs.blogspot.com/2024/03/the-outsiders-1983.html). A credit lifeline he immediately blew on this art-house project, a second Hinton ‘troubled youth’ YA. (Coppola’s like a character from Dostoevsky’s THE GAMBLER, going back to the tables with borrowed money to lose again.) Arty as hell, with shimmering b&w shots so self-consciously angled they cancel out the last one, or read as parodies of films from the ‘50s. (Stylized to death, was the film designed to be a musical just as Coppola’s TUCKER/’88 was before he got cold feet?) Here, kid brother Matt Dilllon, wearing the clingiest of muscle ‘Ts,’* runs hot-and-cold about the return of big brother Mickey Rourke and the Oklahoma boy gangs he used to run. Like OUTSIDERS, there’s another amazing cast to violently wile away the days – Nicolas Cage, Diane Ladd, Laurence Fishburne, Dennis Hopper, Vincent Spano (excellent), Tom Waits Chris Penn – all artfully posed in the dramatic valleys between a few overly choreographed fight scenes. Plus a died-and-floated-to-heaven shot for Dillon . . . till he comes back down. (You’ll find a similarly hilarious shot at the end of FAR AND AWAY/’92 where Ron Howard lets the camera do all the work.) Fun just to look at for two or three reels, then . . .
ATTENTION MUST BE PAID: With all the publicity for Coppola’s latest (last?) non-starter, MEGALOPOLIS/’24, he’s yet again trotted out RUMBLE FISH as his favorite amongst his films. Like a mother favoring her weakest child. Yeah, I know, weaker examples from FFC abound, but you get the idea.
SCREWY THOUGHT OF THE DAY: *Was Matt Dillon purposely groomed to look like Brooks Shields in a trouser role? Everything but the chest. And here’s a drinking game you can play. Every time someone calls Dillon by his full name, Rusty James, take a shot. Warning: Everyone uses the whole name every time.
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