If You're Gonna Lead People, You Gotta Have Somewhere To Go: Rumble Fish (1983)

I am starting to consider the very real possibility that Coppola's best work occurred, while he was adapting S.E. Hinton novels to the screen.  Of course The Outsider's is a bit moderate and youthful, a far cry from his works like Apocalypse now which are considerably hyper-violent.  However, Rumble Fish, his work, also an adaptation of a Hinton work of the same name, throws out some of this youthful safety in favor of a brutally honest, yet cinematically poetic film, filled with an exceptionally large amount of rising stars and individuals who would become big name actors, even a few finding work still today.  Not to mention an awesome cameo, of sorts, by Tom Waits, in what may well be his best performance.  It is clear in this film that Coppola is reaching far back into something profoundly sentimental, providing a film that is as experimental as it is a twisted romansbildung.  Imagine a film with all the youthful bliss of The Outsiders, plus the gang oriented narrative of West Side Story, minus the pesky singing and dancing and you might be able to construct a very cursory understanding of what is offered in Rumble Fish, but even then you would still have to add the art house flair of early Scorsese, a healthy dose of Italain Neo-realism and an undeniable splash of Fellini to even begin to understand the complexities of this film.  I often wondered, when, if ever, Sophia Coppola drew inspiration from her father's work and I can say with some certainty that it likely occurred with Rumble Fish, indicative of its near ethereal nature, as well as her presence in the film playing one of the younger  characters.  It is interesting to pair this simulacrum of a urban landscape occupied by disillusioned youth with any of the later 80's youth films in its refusal to deal with ennui and the awkwardness of growing up via hip New Wave music and witty cynicism.  The world of Rumble Fish is tragic from the on set and even when you think nothing can possibly get worse, the characters engaging in this colorless world manage to fall further into the abyss.

Rumble Fish focuses primarily on the experiences of Rusty James (Matt Dillon) a rebellious young man who fancies himself the leader of a local gang, despite a self-acknowledged lack of smarts and quick wit, Rusty uses his brawn a bit to eagerly to get his way.  Amongst this group include the quick affirming Smokey (Nicolas Cage), the bookish Steve (Vincent Spano), the heavy set bully B.J. (Chris Penn) and the anything but short Midget (Laurence Fishburne).  Along with this group who take up passive gang activities, Rusty also vies for the affections of a local girl, who goes to a private school outside the city named Patty (Diane Lane).  It is during one night of fighting with a rival gang of pill poppers that Rusty takes a shard of glass to the stomach, resulting in his being rescued by The Motorcycle Boy (Mickey Rourke) who is the older brother of Rusty and a sort of local legend, as he was able to leave the city, only to return much to everyone's surpass, notably the police force who have it out for the motorcycle riding utlracool man.  The emergence of his brother, causes Rusty to question his place, especially after the revelation that during his time in California, Motorcycle boy met their mother, a figure long lost from their youth, only to be replaced by their alcoholic and incapable Father (Dennis Hopper).  Much of the narrative evolves to focus on Rusty's contentions with staying in school, ultimately, quashed when he is suspended, as well as attempting to win back Patty after being unfaithful at a beach party.  However, nothing proves more central to the narrative than Rusty's desires to live like his brother, literally following in his shadow throughout the film an act that has considerably cataclysmic results and provide for a magnificently cinematic and tragically poignant closing moment in the film, suggesting a rather unfortunate cycle of future events not much different than those occurring throughout Rumble Fish.

A series of unconventional opening shots, at least in regards to Coppola, display a skyline of a nondescript city as clouds roll past at a unusually fast speed.  This evasive world sets the stage for a narrative of entrapment and desired escapism as it relates to Rumble Fish, one in which the city proves oppressive to all those within its limits.  Many characters seek escape through literal means, as is certainly the case with Patty who travels by bus to go to a private school, while others like Father use alcohol as a self-escape by nightly intoxication.  Yet, the literal escape only occurs for The Motorcycle Boy, who becomes a character within a revisioning of Plato's Allegory of the Cave in that he so deeply desires to explain to other what he has seen in California and how they too can witness those things, yet his language cannot occur in a way to explain it to the cities occupants, most importantly Rusty, who admits to his lack of vocabulary.   The Motorcycle Boy has seen another part of the world and returning to the city causes him to spiral into a noticeable depression, one that leads to a considerably desultory lifestyle, engaged with heroin addicts and aimless wandering through pet stores.  In a moment of brilliance on the part of Hinton/Coppola, Rusty compares Motorcycle Boy to The Pied Piper suggesting that people are willing to follow him wherever he leads them, yet Motorcycle Boy admits that he has no clue where he is going, although I would suggest it is more a lack of possessing the means to explain the world outside of the black and white barriers of the city, lending to his preoccupation with the fish the only thing of color within the entire film, which when considering the Allegory of the Cave element to this film, certainly do not lack a metaphorical element.  Ultimately, Motorcycle Boy realizes he failed to share this outside world with anyone and martyrs himself with the hope that Rusty can take up the torch and if the closing shot of the film is any suggestion, it has a possibility, although it will prove considerably exhaustive.  Also apparently there is some reference to Camus via The Motorcycle Boy, which I did not pick up on but certainly plan to explore later.

Key Scene:  While it is not the most cinematic moment of the film, the initial fight scene between Rusty and another gang leader sets the stage for the remainder of Rumble Fish and welcomes viewers to a world that is transcendent of any traditional logic or conceptualization.

This movie is glorious, at the moment only a DVD copy exists.  I hope a Bluray copy is in the works and plan to wait until it is released to purchase a copy.  Until then it is offered as a Watch Instantly option on Netflix.

I Never Broke The Law, I Am The Law!: Judge Dredd (1995)

In the wake of what appears to be an endless amount of remakes, or what may be called rehashings, I have come to realize their is a considerable list of sci-fi classics, or at the very least well-regarded films for their time, that I have failed to see, one such being Judge Dredd, which has recently found a new version in the midst of the current 3D craze, while I am told that it is not necessarily a remake, the name Dredd made me realize that while I have no desire to see this new version, what memories I do have of the original are very vague and relate more to the video game I played inspired by the film and comic, as opposed to the movie.  As such, I felt it necessary to revisit this work, not expecting to enjoy it per se, but to reconsider a relationship to what I found cool at hip as somebody of seven years age, as opposed to now being twenty four.  Popping in Judge Dredd did begin with an initial degree of excitement because thematically it falls into the distopian film genre, a personal favorite of mine and manages to adhere to this context quite brilliantly.  Furthermore, for about the first forty five minutes to an hour I was blown away by how well executed and realized the film was and found myself contemplating why it had not been more well regarded as years had passed, however, as the movie wrapped up it dove into a world of grandioseness and absurdism that completely ruined its great philosophical underpinnings in the name of terrible counter one-liners and explosions.  Of course, these factors were not off putting, as they might have been in something like a Michael Bay movie and would not have seemed obnoxious were they incorporated evenly throughout the film, tragically, it goes from a great pace to frantic by the films close causing viewers to be rather disconnected as the climax builds to early and points of resolve seem secondary.  Suffice to say, Judge Dredd gets close to being a damn good movie only to throw caution to the wind without realizing that it cannot afford such frivolous actions.  All criticism aside the film deserves a fair amount of credit for some cool special effects and some great cinematic references and I am glad to see that Danny Cannon has gone on to have heavy control in the CSI franchise.  Judge Dredd is very much a product of the 90's and like so many things from the era, excluding the music, revisiting the piece rarely proves to aid in the nostalgia.

It is the future, everything really sucks and the earth is a desolate and inhabitable wasteland, an occurrence we can only assume is directly tied to nuclear warfare.  While most of the world is occupied by pirate like bands of deformed humans, a few cities have popped up, mostly existing within the former United States, one such city is Mega City 1, which is presided over by a set of persons known as Judges, persons whose sole purpose is to dispense justice to an unruly people, often doing so in very forceful and violent manners.  We are shown one such Judge, Judge Dredd (Sylvester Stallone) using his heavy hand to arrest a recently released criminal named Herman Ferguson (Rob Schneider) for computer hacking.  Along with the help of Judge Hershey (Diane Lane) Dredd incarcerates Ferguson and returns to work, only to be told that he needs to take a break from working the streets to reflect on teaching ethics, as many in the academy find Dredd's swift hand of justice a bit to eager.  Meanwhile it is revealed that an ex-Judge named Rico (Armand Assante) has broken free from a maximum security penal colony and is out and about on killing sprees in Mega City 1, much to everyone's concern.  Dredd is then implicated in the murder of an activist oriented reporter, despite having no recollection of the events, leading to his being sent to the prison, despite various pleas of innocence.  While on his way to the prison, Dredd encounter Ferguson once again, who cannot help but note the irony in the situation.  Meanwhile it is revealed that Dredd, as well as Rico were part of a government project to create a genetically perfect police force, Dredd being a positive result and Rico being prove of its negative implications.  Recruiting the aid of Ferguson, Dredd manages to escape the prison and return to Mega City to face Rico in an attempt to save Mega City 1.  After a successful destruction of Rico and his evolving clones, Dredd is able to once again take up his role as a procurer of justice, although we are led to believe that he does so with a slightly different frame of reference, one that now considers the possibilities of innocence.

The concepts of law and ethics and who has the right to dispense justice are more than apparently the concept of Judge Dredd, as if the title of the film alone were not enough of a clue.  However, while some of the film certainly exist to reflect on how the individual code of ethics is contested and accommodated by a larger set of guidelines, I would argue that Judge Dredd is far more concerned with considering what role symbols of power play into dispensing authority and a vague notion of justice.  It is no coincidence that the uniforms donned by the various judges cause them to be somewhat hard to identify beyond clear gender and racial signifiers, giving a certain faceless nature to police power, suggesting it larger or more abstract that human nature.  It is also no coincidence that the uniforms reflect a very totalitarian imagery, almost reminiscent of Fascist era Europe, also suggesting that justice as a means of symbolic power is tied to a state force, something that is further heightened by the large robed figure that is created when shown the architectural nature of the Judge's Academy in Mega City 1.  The film does go on to consider what problems arise when one creates a replica of the symbols of justice, as occurs when Rico passes as Dredd.  Does one then completely dismiss these power images altogether, or does it require a reconsideration and reconstruction of the images from the ground up.  In one of the films better scenes, Dredd comments on the presence of the female depiction of justice as "the blind lady," yet this film suggest that justice is anything but blind and, in fact, depends quite heavily on images and symbols as a means of visual enforcement.

Key Scene:  The hovercraft chase scene, while a bit dated still has a great degree of suspense and enjoyability.

This is a solid rental movie through and through and only if you truly love Sylvester Stallone should you buy this film.