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There was a time, before and after the “Godfather” Parts I and II, when Francis Ford Copola was a highly experimental filmmaker who could come subjects on a smaller, subtler scale that would loom soulfully sizable in close-up. “Rumblefish”, like “The Conversation”, is a very expedient example. It’s the account essentially of Rusty James, a 16-year-old living in a tenement in Oklahoma. Despite his youth, he has the vices of a grand older man-drinking, smoking, fighting, and womanizing without any interference from what few adults remain in his life. His father is a lawyer, living on welfare, an alcoholic. His mother left when he was too young to remember. And he has only the memory of a legendary brother to give him guidance. Unfortunately Rusty hasn’t the reputed intelligence of his mother or father or older brother, and so misunderstands the aura surrounding the memoir and the stuff of which it was built. Rusty thinks the expansive accomplishment of his brother, otherwise known as the “motorcycle boy”, was his presiding over a gang at a time when the gangs ran the streets. And he wants desperately to follow in that path. But tiny by miniature, his friends, his father, and the returning “motorcycle boy” himself demonstrate Rusty that he hasn’t the intellect to lead the gang or the soul to be his brother. The “motorcycle boy” is regarded on the streets as royalty in exile. His father sees him as a ample miscast figure in a play: as someone able to do anything, but unable to win anything he wants to do. And, in a final dispiriting mission, the “motorcycle boy” tells Rusty that he’s wasted his time waiting for his return. He’s no one’s hero; no one’s answer; no one’s leader. If you’re going to lead a people, you have to have somewhere to go. And it is perhaps at this point that we realize we’re not so mighty watching the sage of Rusty James as we are the world of the “motorcycle boy”. We’re really looking at the world through his eyes and ears, through the eyes and ears of a man who is colorblind and mildly deaf. We’re looking at a world shot in shadowy and white, where figures are back-lit to observe gunmetal gray against flat backdrops, and proceed like white clouds racing across the gray sky in sequences shot through time-lapse photography. Shadows appear as thick as the things they skirt, some of which Copola actually had painted on the walls in a kind of distorted monochrome that is reminiscent of early German Expressionist cinema. Angles are drawn intriguing and askew, and background action is framed in deep focus–through, beyond, or around a profile, an arm or a broken figure. And all noises–great and small–pull forward, thwarting any sense of ancient distance, time or relative scale of values. We hear water dripping, billiard balls clacking, machinery turning, delivered in the thick half-echo of a mic blues harp, having no greater or lesser value than the dialogue it serves to syncopate. The sense is very strong that we are seeing and hearing things as the “motorcycle boy” sees and hears them: through a broken, but acute sense of perception, as the father in a rare moment of lucidity calls it. There is always a sense that we are seeing and hearing the guts of the city, the innards of the compacted humanity, and all the mitigated impulses that surrender to drink and drugs and sex and violence for want of some bigger, wider, unprecious circumstance, such as the “motorcycle boy” suspects would prevent the Rumblefish, his term for Japanese fighting fish, from killing one another.
Francis Ford Coppola’s Rumble Fish was booed by its audience when it debuted at the Unusual York Film Festival and in turn was viciously crucified by North American critics upon general release. They resisted the allure of such a dreamy, atmospheric film that works on so many levels. It is also Coppola’s most personal and experimental project–on par with the likes of Apocalypse Now. Rumble Fish curiously remains one of Coppola’s often overlooked films. This may be due to the fact that it refuses to conform to mainstream tastes and stubbornly challenges the Hollywood system with its changeable murky and white cinematography and non-narrative advance.
Rumble Fish curiously remains one of Coppola’s often overlooked films. It refuses to conform to mainstream tastes and stubbornly challenges the Hollywood system with its short-tempered dismal and white cinematography and non-narrative arrive.
It was a movie clearly ahead of its time: a stylish masterpiece that is obsessed with the conception of time, loyalty, and family. Perhaps the most distinctive feature of Coppola’s film is that it presents a world that refers to the past, note, and future while remaining timeless in nature.
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Right from the first image, Rumble Fish is a film that exudes style and ambience. It opens on a aesthetic shot of wispy clouds rushing overhead, captured via time lapse photography to the experimental, percussive soundtrack that envelopes the whole film. This creates the feeling of not only time running out, but also a sense of timelessness.
As always, Coppola assembled an impressive ensemble cast for his film. From The Outsiders, he kept Matt Dillon, Diane Lane, Glenn Withrow, William Smith and Tom Waits, while casting actors like Mickey Rourke and Vincent Spano, who were overlooked for roles in the film for one reason or another. They all gain out their roles admirably, but Mickey Rourke in particular is mesmerizing as the Motorcycle Boy. He portrays the character as a mild, improper key figure that seems to be constantly distracted as if he is in another world or reality.
Every scene is filled with dreamy imagery that never gets too abstract but, instead, draws the viewer into this peculiar world. Coppola uses colour to emphasize determined images, like the Siamese fighting fish in the pet store–some of the only colour in the film–to compose additional layers in this complex, detailed world.
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