If it was by plot or Matt Dillon's acting this would be a poor film ... but this is a film where the style is the substance, great images, truly fantastic sound design (the scene of the younger brother following the motorcycle boy down the night streets after the pet shop coloured fish scene has to be pretty much the best sound design I've heard) and a mesmerising performance from Mickey Rourke.
The most beautiful and expressive film I've seen from Coppola. From the breathtaking B&W cinematography to the subdued but poignant acting from a terrific cast. The whole film feels like a surreal, alternate universe where down on their luck characters move from shadow to shadow trying to find meaning in their lives.
If it is FFC's fave film its also one of my all-time best loved B&W films with Burum's deeply rich , burnished blacks accomplished by precise lighting contrast and tricks from German Expressionism. Dilllon is ok, Hopper hammy but Rourke up to his usual starry bad boy cool best
I hadn't seen this in a very long time and had forgotten just how stridently it flaunts its expressionist heart, its extraordinarily crisp film noir palette and its Nouvelle Vague stylings. But then again its all about bravado in the face of time passing and (acute) perceptions changing as the clouds whorl briskly and indifferently in the sky above humid, smoky Tulsa.
Although there are many similarities to The Outsiders, I have always felt that Rumble Fish was the better movie. It's very stylised, which can mean some viewers dislike the performances and/or fight scenes, but the mostly black and white cinematography is gorgeous and it hammers home the main point with an abundance of poetry that makes up for the lack of subtlety.
With the style of Kazan's On The Waterfront, mixed with the sleepy social emptiness of early Jim Jarmusch films, Rumble Fish stands as a quiet masterpiece from the man who brought us The Godfather. The atmosphere is dreamlike, & the dialogue delivered sleepily & with echo, only heightens the feeling of alienation and disconnection within the world Dillon and Rourke occupy. For me, this is cinema at its most pure.
Une esthétique visuelle et sonore splendide pour cette légende urbaine au casting (jeune) remarquable. La bande son de Copeland, mais aussi les ambiances et bruitages, participent pleinement à cette sorte de féerie envoûtante. Le splendide N&B et ces incursions de couleur accompagnent parfaitement cet étonnant équilibre entre stéréotypes assumés et voyage intérieur. Les pandas sont peut-être en couleur finalement !
Being in the wrong play, unable to find a place in the world and not being able to comprehend it. When American cinema takes a step beyond its own conventions is where it shines. An important piece for the definition of the American mythology and an inspiration for later directors (see Lynch).