***Rumblings From The 1960's Heartland- S.E. Hinton's "The Outsiders"- A Film Review
A YouTube film clip of Francis Ford Coppola's screen adaption of S.E. Hinton's classic tale of teenage alienation, "The Outsiders".
DVD Review
The Outsiders, Rob Lowe, Tom Cruise and every other rising young male star of the 1980s worth his salt, Dian Lane, directed by Francis Ford Coppola, Paramount Pictures, 1983
Recently I reviewed another film adaptation by the director Francis Ford of one of S.E. Hinton’s classic tales of American teenage working class alienation during the 1950s-1960s, “Rumblefish”. There the plot centered on the seemingly inescapable nihilism following the footsteps of a leader, and his ex-leader brother, of a by then passé white teenage gang. That film presented the anguish of youthful working class alienation in a very different and much less glamorous light than the teenage angst films of my youth, like Marlon Brando’s “The Wild Ones” and James Dean’s “Rebel Without A Cause”. I also mentioned in that review that I had been momentarily attracted, very attracted, to that ‘lifestyle’, coming as I did from that stratum of the working class that lived with few hopes and fewer dreams. It was a very near thing that shifted me away from that life, mainly the allure of books and less dangerous exploits.
I did not feel that same kind of identification here in this otherwise outstanding tale of youthful working class alienation out in the heartland in the hills of Oklahoma, “The Outsiders”. That, notwithstanding the fact that the main character and narrator, “Pony Boy”, is also very attracted to books (although “Gone With The Wind” and the poetry of Robert Frost seem odd choices to go ga-ga over). The difference. In “Rumblefish”, seemingly a much more experimental film on Coppola’s part and a more searing look at working class youth on Hinton’s part, the plot is is filled with examples of that unspoken danger, that unspoken destructive pathology and dead end nihilism that meant doom for at least some of the characters, and not just the easy to foresee one of early and untimely death that stalks those down at the edges of society.
Superficially, the plot of “The Outsiders” would have assumed that same fate for its characters. A small town out in the hill of Oklahoma where the class divisions are obvious has the working class “Greasers” lined up in combat against the middle class “Socs” with every cliché of the class struggle, except the political, thrown in for good measure. (Obviously portrayed, as well, note the sideburns long hair on the Greaser side and the chino pants on the frat guys side. You don’t need a scorecard on this one.) In summary: the two sides clash over nothing in particular except “turf”: hold grudges; seek revenge taking causalities, one fatally; and ending with a rumble where the Greasers have their momentary Pyrrhic victory.
Along the way there is plenty of time for youthful reflection by the narrator and his fellows about the ways of the class-ridden world, a few bouts of heroism and a little off-hand (very off-hand) romance. As much as we know about the nature of modern class society this thing rings false. The moral here-even the most alienated Greaser, played to a tee by Matt Dillon, is really only searching for meaning to his life and a little society, only to get waylaid by that life in the end. Thus, this thing turns into something more like a cautionary tale than a slice of live down at the bottom edges of society. The more circumspect and existential “Rumblefish” gets my vote any day.
Note: Part of the problem with this film cinematically is that the leading male actors here, the likes of Rob Lowe, the late Patrick Swayze, Tom Cruise and Matt Dillon are all too ‘pretty’ to be Greasers. Although one can appreciate the talent pool that came out of this film I know from real life that, while the "greasers" of this world may have some raw sexually attractions they would hardly grace the pages of “Gentleman’s Quarterly”, or some such magazine. These guys could. That is what rings false here, as well as the assurances, hammered home to us throughout the story, that in democratic America even the down-trodden can lift themselves up and succeed. If they wash up a little.
A YouTube film clip of Francis Ford Coppola's screen adaption of S.E. Hinton's classic tale of teenage alienation, "The Outsiders".
DVD Review
The Outsiders, Rob Lowe, Tom Cruise and every other rising young male star of the 1980s worth his salt, Dian Lane, directed by Francis Ford Coppola, Paramount Pictures, 1983
Recently I reviewed another film adaptation by the director Francis Ford of one of S.E. Hinton’s classic tales of American teenage working class alienation during the 1950s-1960s, “Rumblefish”. There the plot centered on the seemingly inescapable nihilism following the footsteps of a leader, and his ex-leader brother, of a by then passé white teenage gang. That film presented the anguish of youthful working class alienation in a very different and much less glamorous light than the teenage angst films of my youth, like Marlon Brando’s “The Wild Ones” and James Dean’s “Rebel Without A Cause”. I also mentioned in that review that I had been momentarily attracted, very attracted, to that ‘lifestyle’, coming as I did from that stratum of the working class that lived with few hopes and fewer dreams. It was a very near thing that shifted me away from that life, mainly the allure of books and less dangerous exploits.
I did not feel that same kind of identification here in this otherwise outstanding tale of youthful working class alienation out in the heartland in the hills of Oklahoma, “The Outsiders”. That, notwithstanding the fact that the main character and narrator, “Pony Boy”, is also very attracted to books (although “Gone With The Wind” and the poetry of Robert Frost seem odd choices to go ga-ga over). The difference. In “Rumblefish”, seemingly a much more experimental film on Coppola’s part and a more searing look at working class youth on Hinton’s part, the plot is is filled with examples of that unspoken danger, that unspoken destructive pathology and dead end nihilism that meant doom for at least some of the characters, and not just the easy to foresee one of early and untimely death that stalks those down at the edges of society.
Superficially, the plot of “The Outsiders” would have assumed that same fate for its characters. A small town out in the hill of Oklahoma where the class divisions are obvious has the working class “Greasers” lined up in combat against the middle class “Socs” with every cliché of the class struggle, except the political, thrown in for good measure. (Obviously portrayed, as well, note the sideburns long hair on the Greaser side and the chino pants on the frat guys side. You don’t need a scorecard on this one.) In summary: the two sides clash over nothing in particular except “turf”: hold grudges; seek revenge taking causalities, one fatally; and ending with a rumble where the Greasers have their momentary Pyrrhic victory.
Along the way there is plenty of time for youthful reflection by the narrator and his fellows about the ways of the class-ridden world, a few bouts of heroism and a little off-hand (very off-hand) romance. As much as we know about the nature of modern class society this thing rings false. The moral here-even the most alienated Greaser, played to a tee by Matt Dillon, is really only searching for meaning to his life and a little society, only to get waylaid by that life in the end. Thus, this thing turns into something more like a cautionary tale than a slice of live down at the bottom edges of society. The more circumspect and existential “Rumblefish” gets my vote any day.
Note: Part of the problem with this film cinematically is that the leading male actors here, the likes of Rob Lowe, the late Patrick Swayze, Tom Cruise and Matt Dillon are all too ‘pretty’ to be Greasers. Although one can appreciate the talent pool that came out of this film I know from real life that, while the "greasers" of this world may have some raw sexually attractions they would hardly grace the pages of “Gentleman’s Quarterly”, or some such magazine. These guys could. That is what rings false here, as well as the assurances, hammered home to us throughout the story, that in democratic America even the down-trodden can lift themselves up and succeed. If they wash up a little.
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