Sunday, 24 February 2013

Capital Celluloid 2013 - Day 64: Tue Mar 5

Rumble Fish (Coppola, 1983): Prince Charles Cinema, 8,45pm
This film is screening as part of the Classic Films season at the Prince Charles. Full listings here.


Master of Cinema review:
'Rumble Fish was Francis Ford Coppola’s (Apocalypse Now; The Conversation) second adaptation of one of author S.E. Hinton’s novels, coming right off the heels of wrapping production on the previous adaptation for The Outsiders. Doing a complete 180 in tone, Coppola’s Rumble Fish was a surreal examination of urban decay, misspent youth, and brotherhood shot in black and white with occasional blips of color. Laden with symbolic imagery of lost time, allusions to Greek mythology and even the post-war philosophical ramblings of the Beat Generation (“California’s like a beautiful wild girl on heroin who’s high as a kite thinking she’s on top of the world, not knowin’ she’s dyin’ even if you show her the marks”), the film is focused on the relationship between the two brothers Rusty James (Matt Dillon; Crash; The Outsiders) and The Motorcycle Boy (Mickey Rourke; Immortals; Passion Play; The Expendables; The Wrestler). The younger Rusty dreams of being a gang leader like his brother while the recently returned The Motorcycle Boy, a philosophizing hero amongst the local gangs, seems world weary, tired of his former life. The acting isn’t exactly the highlight of this 1980s peculiarity as much as the dreamlike state evoked by the beautiful, angular camera shots, extreme close-ups, time lapse photography and film noir inspired cinematography of Stephen H. Burum. With that being said, the cast assembled by Coppola is one of the great ones that perhaps only a director of his caliber could assemble, consisting of those he previously worked with like Dennis Hopper and Laurence Fishburne as well as numerous individuals who would go on to become Hollywood staples, such as the aforementioned Matt Dillon, Nicolas Cage, and Chris Penn. Also of note is former drummer for The Police Stewart Copeland’s evocative film score that is both eclectic and fittingly syncopated.'

Here is the trailer.

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