Rumble Fish From Wikipedia, the free encyclopedia This article is about the film.

For the novel, see Rumble Fish (novel). For other meanings, see Rumble Fish (disambiguation). Rumble Fish is an American 1983 drama film directed by Francis Ford Coppola. It is based on the novel Rumble Fish by S.E. Hinton, who also co-wrote the screenplay. The film centers on the relationship between Motorcycle Boy (Mickey Rourke), a revered former gang leader wishing to live a more peaceful life, and his younger brother, Rusty James (Matt Dillon), a teenaged hoodlum who aspires to become as feared as Motorcycle Boy. The film's marketing tagline was, "Rusty James can't live up to his brother's reputation. His brother can't live it down." Coppola wrote the screenplay for the film with Hinton on his days off from shooting The Outsiders. He made the films back-to-back, retaining much of the same cast and crew. The film is notable, for its avant-garde style, shot on stark high-contrast black-and-white film, using the spherical cinematographic process with allusions to French New Wave cinema and German Expressionism. Rumble Fishfeatures an experimental score by Stewart Copeland, drummer of the musical group The Police who used a Musync, a new device at the time. Plot Set in Tulsa, Oklahoma, the film begins in a diner called Benny's Billiards, where local tough guy Rusty James is told by Midgit that rival group leader Biff Wilcox wants to meet him that night in an abandoned garage lot for a fight. Accepting the challenge, Rusty James then talks with his friends the wily Smokey, loyal B.J., and nerdy Steve - who all have a different take on the forthcoming fight. Steve mentions that Rusty James' older brother, "The Motorcycle Boy," would not be pleased with the fight as he had previously created a truce forbidding gang fights, or "rumbles." Rusty James dismisses him, saying that Motorcycle Boy (whose real name is never revealed) has been gone for two months, leaving without explanation or promise of return. Rusty James visits his girlfriend, Patty, then rendezvous with his cadre and walks to the abandoned garage lot, where Biff and his buddies suddenly appear. The two battle, with the fight ending when Rusty James disarms Biff and beats him almost unconscious. Motorcycle Boy arrives dramatically on his motorcycle and this distracts Rusty James who is gashed by Biff in the side with a shard of glass. Incensed, Motorcycle Boy sends his motorcycle flying into Biff. The Motorcycle Boy and Steve take Rusty James home (past Officer Patterson, a street cop who's long had it in for the Motorcycle Boy) and nurse him to health through the night. Steve and the injured Rusty James talk about how Motorcycle Boy is 21 years old, colorblind, partially deaf, and noticeably aloof the last trait causing many to believe he is insane.

The Motorcycle Boy and Rusty James share the next evening with their alcoholic, welfaredependent father, who says that the Motorcycle Boy takes after his mother whereas, it is implied, Rusty James takes after him. Things start to go wrong for Rusty James: he's kicked out of school after his frequent fights. Despite Rusty James' desire to do so, The Motorcycle Boy implies that he has no interest in reviving any gang activity. Rusty James fools around with another girl and is dumped by Patty. The two brothers and Steve head across the river one night to a strip of bars, where Rusty James enjoys being away from his troubles. The Motorcycle Boy mentions that he located their long-lost mother during his recent trip while she was with a movie producer, which took him to California although he did not reach the ocean. Later, Steve and Rusty James wander drunkenly home, and are attacked by thugs, but both are saved by the Motorcycle Boy. As he nurses Rusty James again, the Motorcycle Boy tells him that the gang life and the rumbles he yearns for and idolizes are not what he believes them to be. Steve calls the Motorcycle Boy crazy, a claim which the Motorcycle Boy does not deny further prompting Rusty James to believe his brother is insane, just like his runaway mother supposedly was. Rusty James meets up with the Motorcycle Boy the next day in a pet store, where the latter is strangely fascinated with the Siamese fighting fish, which he refers to as "rumble fish". Officer Patterson suspects they will try to rob the store. The brothers leave and meet their father, who explains to Rusty James that, contrary to popular belief, neither his mother nor brother are crazy, but rather they were both born with an acute perception. The brothers go for a motorcycle ride through the city and arrive at the Pet Store where the Motorcycle Boy breaks in and starts to set the animals loose. Rusty James makes a last-gasp effort to convince his brother to reunite with him, but the Motorcycle Boy refuses, explaining they are too different to ever have the life Rusty James speaks of. The Motorcycle Boy takes the fish and rushes to free them in the river, but is shot by Officer Patterson before he can. Rusty James, after hearing the gunshot, finishes his brother's last attempt while a large crowd of people begin merging on his body. Rusty James finally reaches the Pacific Ocean (something the Motorcycle Boy never got to do) and enjoys the shining sun and flocks of birds flying around the beach. Cast

Matt Dillon as Rusty James Mickey Rourke as the Motorcycle Boy Diane Lane as Patty Dennis Hopper as Father Diana Scarwid as Cassandra Vincent Spano as Steve

Nicolas Cage as Smokey Chris Penn as B.J. Jackson Laurence Fishburne as Midget William Smith as Officer Patterson Glenn Withrow as Biff Wilcox Tom Waits as Benny Sofia Coppola as Donna S.E. Hinton as Hooker on Strip

Development Francis Ford Coppola was drawn to S.E. Hinton's novel Rumble Fish because of the strong personal identification he had with the subject matter a younger brother who heroworships an older, intellectually superior brother, which mirrored the relationship between Coppola and his brother, August.[2] A dedication to August appears as the film's final end credit. The director said that he "started to use Rumble Fish as my carrot for what I promised myself when I finished The Outsiders".[3] Halfway through the production of The Outsiders, Coppola decided that he wanted to retain the same production team, stay in Tulsa, and shoot Rumble Fish right after The Outsiders. He wrote the screenplay for Rumble Fish with Hinton on Sundays, their day off from shooting The Outsiders.[2] During rehearsals, Matt got used to the adult-like acting behavior and situations, after "The Outsiders"; although it wasn't much different. Dillon and Rourke developed a friendship when filming, getting used to their interesting, mischievous characters. Pre-production Warner Bros. was not happy with an early cut of The Outsiders and passed on distributing Rumble Fish.[4] Despite the lack of financing in place, Coppola completely recorded the film on video during two weeks of rehearsals in a former school gymnasium and afterwards was able to show the cast and crew a rough draft of the film.[5] To get Rourke into the mindset of his character, Coppola gave him books written by Albert Camus and a biography of Napoleon.[6] The Motorcycle Boy's look was patterned after Camus complete with trademark cigarette dangling out of the corner of his mouth taken from a photograph of the author that Rourke used as a visual handle.[7] Rourke remembers that he approached his character as "an actor who no longer finds his work interesting".[4] Coppola hired Michael Smuin, a choreographer and co-director of the San Francisco Ballet, to stage the fight scene between Rusty James and Biff Wilcox because he liked the way he choreographed violence.[5] He asked Smuin to include specific visual elements: a motorcycle, broken glass, knives, gushing water and blood. The choreographer spent a week designing the

sequence. Smuin also staged the street dance between Rourke and Diana Scarwid, modeling it after one in Picnic featuring William Holden and Kim Novak.[5] Before filming started, Coppola ran regular screenings of old films during the evenings to familiarize the cast and in particular, the crew with his visual concept for Rumble Fish.[5] Most notably, Coppola showed Anatole Litvak's Decision Before Dawn, the inspiration for the film's smoky look, F.W. Murnau's The Last Laugh to show Matt Dillon how silent actor Emil Jennings used body language to convey emotions, and Robert Wiene's The Cabinet of Dr. Caligari, which became Rumble Fish's "stylistic prototype".[5] Coppola's extensive use of shadows, oblique angles, exaggerated compositions, and an abundance of smoke and fog are all hallmarks of these German Expressionist films. Godfrey Reggio's Koyaanisqatsi, shot mainly in time-lapse photography, motivated Coppola to use this technique to animate the sky in his own film.[5] [edit]Principal photography Six weeks into production, Coppola made a deal with Universal Studios and principal photography began on July 12, 1982 with the director declaring, "Rumble Fish will be to The Outsiders what Apocalypse Now was to The Godfather".[7] He shot in deserted areas at the edge of Tulsa with many scenes captured via a hand-held camera in order to make the audience feel uneasy. He also had shadows painted on the walls of the sets to make them look ominous.[8] In the dream sequence where Rusty James floats outside of his body Matt Dillon wore a body mold which was moved by an articulated arm and also flown on wires.[9] To mix the black-and-white footage of Rusty James and the Motorcycle Boy in the pet store looking at the Siamese fighting fish in color, Burum shot the actors in black and white and then projected that footage on a rear projection screen. They put the fish tank in front of it with the tropical fish and shot it all with color film.[10] Filming finished by mid-September 1982, on schedule and on budget.[8] The film is notable for its avant-garde style, shot on stark high-contrast black-and-white film, using the spherical cinematographic process with allusions to French New Wave cinema. The striking black-and-white photography of the film's cinematographer, Stephen H. Burum, lies in two main sources: the films of Orson Welles and German cinema of the 1920s.[11] When the film was in its pre-production phase, Coppola asked Burum how he wanted to film it and they agreed that it might be the only chance they were ever going to have to make a black-andwhite film.[9] [edit]Soundtrack Coppola envisioned a largely experimental score to complement his images.[12] He began to devise a mainly percussive soundtrack to symbolize the idea of time running out. As Coppola worked on it, he realized that he needed help from a professional musician. He askedStewart Copeland, then drummer of the musical group The Police, to improvise a rhythm track.

Coppola soon concluded that Copeland was a far superior composer and let him take over.[12] Copeland recorded street sounds of Tulsa and mixed them into the soundtrack with the use of a Musync, a new device at the time, that recorded film, frame by frame on videotape with the image on top, the dialogue in the middle, and the musical staves on the bottom so that it matched the images perfectly.[12] An edited version of the song "Don't Box Me In" a collaboration between Copeland and singer/songwriter Stan Ridgway, was released as a single and enjoyed significant radio airplay. All songs written by Stewart Copeland, except where noted. 1. "Don't Box Me In" (Copeland, Stan Ridgway) 4:40 2. "Tulsa Tango" 3:42 3. "Our Mother Is Alive" 4:16 4. "Party at Someone Else's Place" 2:25 5. "Biff Gets Stomped by Rusty James" 2:27 6. "Brothers on Wheels" 4:20 7. "West Tulsa Story" 3:59 8. "Tulsa Rags" 1:39 9. "Father on the Stairs" 3:01 10. "Hostile Bridge to Benny's" 1:53 11. "Your Mother Is Not Crazy" 2:48 12. "Personal Midget/Cain's Ballroom" 5:55 13. "Motorboy's Fate" 2:03 [edit]Differences from the novel Coppola did not employ the flashback structure of the novel.[13] He also removed a few passages from the novel that further established Steve and Rusty James' relationship in order to focus more on the brothers' relationship.

The Motorcycle Boy's self-destructive actions at the film's conclusion are less motivated in the film than in the novel. In the film, the Motorcycle Boy is more attendant and more paternalistic toward Rusty James than in the novel.

The film ends with the younger brother arriving at the ocean on a motorcycle while the novel ends with Steve meeting Rusty James in California five years after Motorcycle Boy's death.

Furthermore, Rusty James got arrested after Motorcycle Boy had been shot and never made the promise to ride the motorcycle.

During the fight with Biff, Rusty James was slashed with a knife rather than a pane of glass and Motorcycle Boy simply broke Biff's wrist instead of ramming him with his motorcycle.[14]

Finally, Rusty James used a bike chain to disarm Biff, whereas in the film he uses a sweater.

[edit]Themes The theme of time passing faster than the characters realize is conveyed through time-lapse photography of clouds racing across the sky and numerous shots of clocks. The black-andwhite photography was meant to convey the Motorcycle Boy's color blindness while also evoking film noir through frequent use of oblique angles, exaggerated compositions, dark alleys, and foggy streets. The timeline is believed to set in the 50's and/or 60's. [15] [edit]Reception At Rumble Fish's world premiere at the New York Film Festival, there were several walkouts and at the end of the screening, boos and catcalls.[16] Former head of production atParamount Pictures Michael Daly remembers legendary producer Robert Evans' reaction to Coppola's film, "Evans went to see Rumble Fish, and he remembers being shaken by how far Coppola had strayed from Hollywood. Evans says, 'I was scared. I couldn't understand any of it.'"[3] At the San Sebastian International Film Festival, it won the International Critics' Big Award. The movie was a box office disaster on initial release, grossing only $2.5 million domestically;[1]its estimated budget was $10 million; a large sum for the time. Coppola utilized many new filmmaking techniques never before used in the production of a motion picture. The film polarized critics, some mainstream reviewers enjoying it, while others disliked Coppola's film, criticizing Coppola's style over substance approach. The film has since grown in esteem and is held in high regard by many film fans. Rumble Fish was released on October 8, 1983 and grossed $18,985 on its opening weekend, playing in only one theater. Its widest release was in 296 theaters and it finally grossed $2.5 million domestically.[17] [edit]Critical response Rumble Fish was not well received by most mainstream critics upon its initial release, receiving nine negative reviews in New York City, mostly from broadcast media and newspapers with harsh reviews by David Denby in New York and Andrew Sarris in the Village Voice.[18] In her review for the New York Times, Janet Maslin wrote that "the film is so furiously overloaded, so crammed with extravagant touches, that any hint of a central thread is obscured".[19] Film critic Roger Ebert gave the film three-and-a-half out of four stars and wrote, "I thought Rumble Fish was offbeat, daring, and utterly original. Who but Coppola could make this film? And, of course, who but Coppola would want to?"[20] Gary Arnold in the Washington Post wrote, "It's

virtually impossible to be drawn into the characters' identities and conflicts at even an introductory, rudimentary level, and the rackety distraction of an obtrusive experimental score ... frequently makes it impossible to comprehend mere dialogue".[21] Time magazine's Richard Corliss wrote, "In one sense, then, Rumble Fish is Coppola's professional suicide note to the movie industry, a warning against employing him to find the golden gross. No doubt: this is his most baroque and self-indulgent film. It may also be his bravest".[22] Jay Scott wrote one of the few positive reviews for the film in the Globe and Mail. "Francis Coppola, bless his theatrical soul, may have the commercial sense of a newt, but he has the heart of a revolutionary, and the talent of a great artist".[23] Jack Kroll also gave a rare rave in his review for Newsweek: "Rumble Fish is a brilliant tone poem ... Rourke's Motorcycle Boy is really a young god with a mortal wound, a slippery assignment Rourke handles with a fierce delicacy".[24] The film has a 70% rating on Rotten Tomatoes and a 63 metascore on Metacritic.David Thomson has written that Rumble Fish is "maybe the most satisfying film Coppola made after Apocalypse Now".[25] Despite mixed reviews, Rumble Fish won the highest prize in the 32nd San Sebastian International Film Festival, the International Critics' Big Award.[26] [edit]Home media The film was first released on VHS in 1984 and on DVD on September 9, 1998 with no extra material. A special edition was released on September 13, 2005 with an audio commentary by Coppola, six deleted scenes, a making-of featurette, a look at how Copeland's score was created and the "Don't Box Me In" music video. In August 2012, The Masters of Cinema Series will release a special Blu-ray edition of the film (and accompanying SteelBook edition) in the UK. z

Bueno, esto son palabras mayores. Estamos ante una de los mitos de los aos 80. Un film que ha pasado a la historia tanto por su esttica como por su historia como por el acojonante casting que atesora (todo futuras estrellas del cine y actores de calidad acojonante). El film desde el primer segundo demuestra una esttica especial e impactante. Un blanco y negro fascinante (las escenas nocutrnas con ese tono verdoso del blanco y negro me encantan). En un cartel podemos ver la mtica frase "El chico de la moto reina". Pero a quien vemos antes es a RUSTY JAMES (Un potente Matt Dillon) y sus colegas. "La heroina ha disuelto las bandas".- dice RUSTY JAMES. El personaje de DILLON aora las bandas callejeras, sobre todo por que era la poca en que EL CHICO DE LA MOTO reinaba y era el hroe local. El personaje de NICOLAS CAGE (SMOCKIE) no les ve utilidad, a las bandas, pero RUSTY JAMES suea con el regreso del CHICO DE LA MOTO y la vuelta al mundo de las bandas que siempre ser mejor que la mierda de la drogas que impera ahora en la ciudad. RUSTY JAMES tiene a su chica (preciosa DIANE LANE), una colegiala fascinada con el chulito de barrio de JAMES pero que se hace la dura "Salgo con chicos desde los 9 aos" afirma ella, pero solo es una pose ante JAMES. En la escena del porche RUSTY y su chica tienen una coversacin: - Quieres ser como tu hermano?.-dice ella. - l es el ms autntico.- respoden RUSTY. - Pero t tienes corazn. - Si, pero...l es listo. El hermano de RUSTY JAMES es el mtico CHICO DE LA MOTO, un icono que lo es todo para RUSTY, su meta para ser mejor y para soar con un maana mejor. Intenta ser como l y llegar a sus logros. RUSTY con sus colegas van a pelear esa noche con otra banda. El mejor amigo de RUSTY es un empolln llamado STEVE, el tpico gafitas. Cuando le preguntan a RUSTY por que es amigo de esa "nenaza" responde:"Nos conocemos desde la guarderia".- RUSTY es en el fondo un tipo sentimental, pero debe huir de la mediocridad que le rodea, por eso la pelea de esa noche es tan importante para l. La secuencia de la pelea comienza como un western, con ese misterio que rodea al momento antes del duelo, luego el ritmo se vuelve callejero con una cmara que se mueve perfectamente y una banda sonora estupenda. (Una de las escenas ms originales es la cmara siguiendo a RUSTY JAMES deslizandose por la cuerda). Cuando RUSTY est venciendo a su enemigo (el jefe de la otra banda) aparece EL CHICO DE LA MOTO (un acojonante MICKEY ROURKE que a partir de entonces se come a todo el reparto de la pelicula). - Qu, otra gloriosa pelea en defensa del reino?.- Dice irnicamente EL CHICO DE LA MOTO. A traicin, el jefe de la otra banda, raja a RUSTY con su navaja, en una espectacular escena EL CHICO DE LA MOTO lanza su moto contra el macarra y lo deja fuera de combate (pocas veces una escena me ha impactado tanto como esa moto llevandose por delante al macarra!!). Tras ver como est su hermano aparece un misterioso policia que le dice al CHICO DE LA MOTO que "Ojal no hubieras vuelto". Lo que refuerza la imagen mtica y legendaria de EL CHICO DE LA MOTO... Por que ha vuelto el CHICO DE LA MOTO?. Mientras cura a su hermano pequeo EL CHICO DE LA MOTO le cuenta que ha estado en CALIFORNIA (la tierra prometida para los americanos). RUSTY comenta que aquello debe ser

maravilloso con tantas chicas, sol y playa...pero el CHICO DE LA MOTO parece desengaado con CALIFORNIA (California es un mito igual que el mito del CHICO DE LA MOTO?). STEVE le dice a RUSTY que encuentra a EL CHICO DE LA MOTO algo cambiado, como ms mayor. RUSTY dice: "A veces se queda sordo, y adems es daltnico". STEVE DICE: "Parece mayor, y solo tiene 21 aos". "Nunca s lo que est pensando".- Aade STEVE sobre EL CHICO DE LA MOTO. En un libro EL CHICO DE LA MOTO encuentra una vieja foto de l con su hermano cuando eran nios. Aora aquella poca ms inocente. En la siguiente escena RUSTY JAMES le pregunta que por qu ha vuelto, EL CHICO DE LA MOTO dice que "por que echaba de menos esto", irnicamente la cmara en ese momento enfoca la cama donde el padre de ambos (DENNIS HOPPPER) descansa borracho perdido. En la escena de la escalera entre RUSTY JAMES y CASSANDRA la chica yonqui que esta enamorada de EL CHICO DE LA MOTO discuten, RUSTY le dice a la chica que se olvide de su hermano que ella solo es otra ms. Ella confiesa que se enganch a la heroina tras ver como se largaba EL CHICO DE LA MOTO. (un detalle curioso es que la desconocida DIANA SCARWID, la actriz que hace de CASSANDRA seria la protagonista aos ms tarde de la delirante PSICOSIS 3, luego a actriz desapareceria del mapa). EL CHICO DE LA MOTO le dice a RUSTY "parece como si estuvieras siempre jodido" y le pregunta "por que siempre estas como jodido?". RUSTY solo puede contesta un "No lo s". La escena de DENNIS HOPPER llegando a casa es maravillosa, se ve por el callejn encontrandose con un perro al que acaricia, lo mejor es que durante toda la escena vemos a HOPPER pero al perro solo le vemos a travs de la sombra que proyecta sobre la pared. Sin duda uno de los miles de detalles estticos que salpican este film tan especctacualrmente rodado y con una pasin por el detallismo simplemente acojonante. El padre es un borracho, aun asi sus hijos le aprecian. EL CHICO DE LA MOTO intenta quitarle la botella entre bromas y su padre le dice "Eres como tu Madre". Entonces nos damos cuenta de que la madre no est...que habr sido de ella?. En realidad se trata de tres perdedores reunidos en una cochambrosa habitacin en un barrio de mierda. La escena de la orgia en la que participan RUSTY JAMES y sus amigos nos da a entender que RUSTY solo vive el presente sin preocuparse del futuro. Cuando se entera su chica, PATTY, ella monta en clera y le deja tirado. "Follas con otras y te cagas en mi!".- setencia ella. l al final tambien le dice que se joda y se va furioso. RUSTY JAMES vive solo el presente y lo dems no le importa. En la tienda de revistas EL CHICO DE LA MOTO dice:"Ya no aguanto m el rollo de ROBIN HOOD y de Flautista de Hamelin". Est harto de ser un icono y un mito. RUSTY JAMES no le entiende pero EL CHICO DE LA MOTO sentencia diciendo:"Si quieres guiar a la gente, tienes que tener una meta". Al volver a encontrarse ambos con el policia cabrn RUSTY le pregunta la poli:"Por que le odias tanto?" refierinendose al CHICO DE LA MOTO. "Le odio por que le consideras algo que no es. l no es un hroe".-contesta el poli."Y t si?.T eres un hroe?".- replica RUSTY JAMES al poli. Cuando ms tarde STEVE comenta que el alcohol "sabe asqueroso" RUSTY contesta:"Si pero te pone de buen humor". RUSTY JAMES siempre est escapando de la realidad, como todo buen

soador. STEVE sale con los dos hermanos por ah de noche y le pregunta al CHICO DE LA MOTO "Como ves tu las cosas?". EL CHICO DE LA MOTO contesta: "Como una televisin en blanco y negro" (asi nos damos cuenta que todo el film esta hecho desde el punto de vista de EL CHICO DE LA MOTO y no solo por el hecho de estar rodado en blanco y negro, sino por todos los detalles que aparecen aadidos). RUSTY JAMES comenta "Me gusta la multitud, odio estar solo". En los billares alguien le dice a RUSTY "Nunca sers como l" refiriendose al CHICO DE LA MOTO. RUSTY suea con bandas y peleas mticas del pasado. Cuando llegan al amanecer bajo un puente STEVE le pregunta al CHICO DE LA MOTO:"Por que nadie ha acabado contigo?". EL CHICO DE LA MOTO contesta: "Hasta las sociedades ms primitivas respetan a los locos". RUSTY JAMES se reencuentra con DIANE LANE, su chica, en un bar y descubre que SMOCKIE (NICOLAS CAGE) est ahora con ella. SMOCKIE fue el que le cont lo de la orgia a ella. Otro desengao ms en su vida. SMOCKIE le comenta que va a ser el jefe de las bandas del barrio y que RUSTY podia haber aprovechado la fama de su hermano...pero que no es tan listo como EL CHICO DE LA MOTO. SMOCKIE ha traicionado a su amigo RUSTY. En la tienda de animales vemos al CHICO DE LA MOTO fascinado con los peces de colores (es lo nico que no es blanco y negro en la pelicula). EL CHICO DE LA MOTO quiere llevar los peces al rio y soltarlos, liberarlos. Pero aparece el poli que intuye los planes del chico. "Hay personas que no ven el mundo como las personas normales. Eso no significan que esten locas".- Dice el padre (DENNIS HOPPER) de RUSTY y EL CHICO DE LA MOTO con respecto a la madre de los chicos que les abandon hace tiempo (aunque tambin se refiere al CHICO DE LA MOTO, desde luego). Tambien le comenta a RUSTY que EL CHICO DE LA MOTO est en el mundo equivocado, que tiene talento para cualquier cosa pero sin embargo no encuentra nada que hacer. "Desperdicio mi vida por que estoy esperando algo..Pero qu?".-Reflexiona EL CHICO DE LA MOTO. RUSTY y su hermano van por la calle de noche en la moto a toda velocidad, pero EL CHICO DE LA MOTO se detiene en la tienda de animales. RUSTY intuyendo lo que va a hacer intenta convencerle de que no lo haga, de que no se meta en ese lio. "No puedo ser el hermano mayor que siempre deseaste".- Le dice EL CHICO DE LA MOTO y aade:"Pero no puedo ser lo que quiero, ni t tampoco" y coje a los peces para liberarlos. EL CHICO DE LA MOTO le dice a RUSTY que va a llevar a los peces al rio y le encarga que coja su moto y se largue al oceano. El poli mientras est esperando a su turno. Cuando RUSTY se queda solo oye el disparo, el poli ha matado al CHICO DE LA MOTO. Metfora de que vivimos atrapados en una vida predestinada, que no existe la verdadera libertad?. RUSTY se va en la moto mientras la gente expresa su sorpresa por la muerte del legendario CHICO DE LA MOTO. Lo ltimo que vemos es a RUSTY llegando al ocano...Hay esperanza aun para ser libres, para liberarnos?. Hasta aqui el fascinante film de CIPPOLA escrito por l y S.E. HINTON en cuya novela RUMBLE FISH se basa la pelicula. Decir que en el film hay un cameo de propio S.E. HINTON (autor tambien de la novela REBELDES tambien adaptada por COPPOLA al cine) y que el film est dedicado al hermano mayor de COPPOLA. Tambin destacar el fenomenal reparto lleno de caras nuevas que con el tiempo se harian populares, gente como MATT DILLON, MICKEY ROURKE, DIANE LANE, CHRIS PENN, TOM WAITS, NICOLAS CAGE, VINCENT SPANO, LAWRENCE FISHBURNE, etc...adems del veterano DENNIS HOPPER.

En fin, una pelicula excelentemente rodada, buscando el equilibrio entre vanguardia, frescura y originalidad que a pesar de estar ambientada en los aos 80 tiene un logrado ambiente aos 50, de esas pelis mticas de JAMES DEAN (no en vano yo veo similitudes con films como REBELDE SIN CAUSA o AL ESTE DEL EDN) QUE POCAS PELIS EN LA HISTORA DEL CINE HAN LOGRADO. Una pena que tras esta peli COPPOLA jams volviera a hacer nada interesante en el cine (volver a rodar algo tan innecesario como DRACULA o la pattica EL PADRINO 3 no son nada del otro mundo) pero siempre se tendr ganado el cielo con pelis como esta. Si os mola esta peli no olvideis de ver REBELDES, otra peli mtica de los aos 80 que se merece un diseccionado tan extenso como este o ms. Posdata: He estado buscando si habia hilos o diseccionado de esta peli en el foro y no he encontrado nada. Si por casualidad ya habia otro hilo perdonadme pero es que no lo he encontrado!.

Curiosidades [editar]Francis Ford Coppola le dedic la pelcula a su hermano mayor August Coppola, padre de Nicolas Cage. El grupo La Resistencia tocaba una cancin donde contaban la historia de Rusty James. El personaje Benny es interpretado por el msico Tom Waits. Est es la nica pelcula en la que Nicolas Cage aparece como Nicolas Coppola, antes de haberse cambiado el nombre. En la pelcula aparece Sofia Coppola con tan solo 12 aos de edad interpretando a la hermana menor de Diane Lane, sin embargo sale acreditada bajo el nombre de Domino. Susan E. Hinton la autora del libro tiene una breve aparicin en la pelcula, interpretando a una prostituta. A lo largo de la pelcula se puede ver una gran cantidad de relojes. La llamativa y original msica incidental y principal de la pelcula es el debut para msica de banda sonora de Stewart Copeland, baterista del legendario grupo The Police, cuando todava esta banda no se haba disuelto. Frases picas [editar]Sabes?, si vas a guiar a la gente, tienes que tener adnde ir. Hasta las sociedades ms primitivas sienten un respeto innato por los locos. Cielos cunto tiempo me queda?, me quedan 35 veranos, pinsalo: 35 veranos. Una percepcin aguda puede volverte loco. CRITICA:

El chico de la moto es el Rey y ha vuelto de su destierro, o, si se quiere, de las cruzadas( esa sera otra versin del mito). Su hermano pequeo, Rusty James, interpretado por el rebelde Matt Dillon, siempre ha sentido una idolatra ciega hacia l. Spoiler (Click para ver) . Coppola vuelve a sus anchas. Deja los encargos a un lado y crea una obra personal y muy potica, con un blanco y negro que recuerda otras pocas, con el tiempo recordndonos que nada permanece, que un mesas traer otro nuevo ; el trascurso del tiempo inunda la pelcula, con relojes por todos los lados, algunos incluso sin manecillas para hacernos comprender que el tiempo, en ocasiones, es caprichoso y parece no avanzar, como cuando Rusty James y los suyos van a pelearse con otra banda, y es que el miedo hace detenerse el tiempo en las cabezas de quien siente esa sensacin, para que sepamos lo duro que es enfrentarnos a el y tratar de vencerlo; tambin hay nubes que corren deprisa y nos da la sensacin de precipitacin, de aires de cambio, y el ritmo de la msica de Copeland(el batera del grupo Police) tambin nos marca el transcurso de lo que acontece: el ritmo de la msica marca el tiempo perfectamente como una partitura matemtica, pero con mucha alma. Esta pelcula es la otra cara de Rebeldes; las dos hablan del mundo de los jvenes, de las bandas juveniles, pero desde vertientes diferentes. Rebeldes es anterior a La ley de la calle y ms clsica en sus planteamientos, ms romntica al viejo estilo; Rumble fish es potica, en esto se semejan los dos films, pero ms innovadora, visualmente mucho ms poderosa. La mirada de Rebeldes es ms inocente, sera como la mirada o la visin de un adolescente a punto de entrar en la primera juventud; la mirada de La ley de la calle es ms mstica, filosfica, como lo es el padre de ambos protagonistas interpretado por Dennis Hopper, Spoiler (Click para ver)

La ley de la calle es la mejor pelcula de Coppola junto con El Padrino y Apocalise Naw. Estas dos ltimas son pelculas ms grandes, proyectos ms ambiciosos del maestro; Rumble fish es ms ntima, ms pequea, es una joya pequea. Gan en San Sebastin en el ao 1984 y aunque es de las pelculas menos conocidas de Coppola no por ello significa que sea de las que menos inters despierte, todo lo contrario. Su onrica puesta en escena es compartida con un arrebatador lirismo y un anlisis de los personajes cautivador, que trenza una telaraa de fino hilo y agudo anlisis en lo referente a sus almas. La ley de la calle es pura dialctica vital de unos personajes marcados por la soledad y la tristeza, un sentimiento producido por la prdida de lo ms querido y por la aoranza de lo que ya no volver( vase la anttesis de Rusty James, a quien le gustan las multitudes, la gente; se siente vivo entre la gente, cuanta ms mejor, y as se lo dice a su hermano y a su mejor amigo cuando salen por el otro lado del ro, donde debi haber nacido su hermano mayor: el chico de la moto naci en el lado del ro equivocado); en esta pelcula se buscan referentes, ideales: los que para Rusty James cree tener su hermano, se busca una quimera que es la de todo el mundo: la posesin de la felicidad, y Rusty James parece no encontrarla a pesar de haber vuelto a encontrar su inspiracin, la que puede darle su hermano que ha vuelto, y cmo! Spoiler (Click para ver) ; pero el desencanto sigue ah, Rusty siempre est mal, enfermo de pena y de rabia, y esto es lo que le dice su hermano en la casa del padre cuando est convaleciente de una herida muy sangrante que tuvo en la pelea del metro, donde se volvieron a encontrar. La fe ciega que Matt Dillon tiene por su hermano evoluciona a mitad de pelcula en duda; no slo es su propio hermano mayor quien trata de hacerle comprender que l no merece la pena sino tambin su amigo( el que lleva gafas), que en un momento de enojo le llega a decir que su hermano es poco menos que una mierda y que la vida en aquellos tiempos de peleas y pandillas estaba marcado por el miedo cuando la violencia se desataba, se tiraba por los suelos, en parte, el mito romntico de lo maravillosas que eran las peleas entre pandillas, al igual que la idealizacin que Rusty tena de lo que representaba su hermano, sobre todo cuando ste le confirma que con el tiempo, incluso, todo aquello lleg a ser un autntico coazo, algo aburrido y que no conduca a nada. Y la evolucin y duda de Rusty tiene que ser contrastada por alguien que merezca todo el crdito, y quien mejor que su padre para confirmarlo; por eso le pregunta si su hermano mayor est realmente loco como dice alguna gente del barrio, como el polica que lo acecha. Pero la evolucin no se estrella con la decepcin al decirle su padre, convencido, que su hermano no est loco, simplemente siente las cosas de diferente manera, con mucha ms intensidad( a pesar de no ver bien ni oir a penas), y que es esa intensidad la que s podra volver loco a alguien Nada ms que decir, simplemente genial

In thinking of films that are able to exemplify many film elements that are put together in an interesting and organized manner the movie Rumble Fish comes to mind. The director Francis Ford Coppola demonstrates how metaphors are able to help decipher a deeper meaning of the film. Rumble Fish is a film that is about growing up and seeing new things that have never been seen before. The two main characters who are brothers Rusty James and the Motorcycle Boy, experience internal conflicts. Rusty James the younger of the two looks up to his brother and wants to be like him. However the elder has grown out of his previous demeanor of always fighting and he doesn't want his brother to follow in his steps. Throughout the film he ask Rusty James why he is following him. The Motorcycle Boy knows that his brother is somewhat trapped in the city and someone needs to get him out or set him free. He looks to the fish in the pet store to explain this and it is how he relates to his brothers problems. This is the scene that will be examined of when Rusty James is in the pet store with his brother and they are looking at the fish. It has been explained how much everyone in town looks up to the Motorcycle Boy, and on numerous occasions Rusty James said he was going to look like him when he was older. Even though the Motorcycle Boy never shows much affection, he wants something better for his brother, and even though he never tells his brother to leave until the end when he knows he is going to die, he tries to let him know through the fish. So until this point in the movie the viewer never really knows how the Motorcycle Boy feels about his brother. The pet store is a metaphor for the lives of these two brothers. The Motorcycle Boy feels the fish are angry because they are trapped in the fish tank, he says if they were in the river they would not fight. To him Rusty James is the fish and if he got out of their town he would realize that there is something more in life. The scene starts with a dissolve of the clouds and a sign the says "Pet Store." The camera shows a double framing shot of Rusty James in the doorway of the pet store, where he pauses for a moment, and it seems that he might be unsure of whether he wants to go in or not. There is a cut to the Motorcycle Boy and he is staring into the fish tank. This scene contains the natural lighting that most of the other scenes have. Even though, the lighting is repetitive it is considered a motif of the film. Rusty James and his brother are tracked from fish tank to fish tank. The camera shot is at a straight on angle shot from the other side of the fish tank, which puts the two brothers in a double framing shot. The camera tracks the two brothers from each fish tank to the next as the Motorcycle Boy explains to Rusty James what the "rumble fish" are. The tracking does not add much to the scene however keeping both brothers together is important because it allows the viewer to see the facial expressions of both men. Tight framing is used when there is a two shot of the brothers from the other side of the fish tank, and the camera also shows exaggerated close-ups of the two brothers that are used for reaction shots. The dialogue is monotone, except for times when the Motorcycle Boy sounds sound by the condition of the fish, or the way Rusty James sounds when his brother is trying to explain what the fish are. All is he able to add to the conversation is, "I like the colors." Then when the officer enters the camera angles change somewhat. Since Rusty James and the officer are standing there is a low angle shot, and with the Motorcycle Boy who is kneeling there is a high angle shot. The editing consists of shot reverse shot between the three characters, with distinct close-ups that show detailed facial expressions. The Mise En Scene in this scene is limited compared to others, the lighting used is the standard used through most of the picture. The costumes are very realistic with Rusty James continuously wearing his tank top, however they are not elaborate. Coppola was able to create a film of this caliber and not have to use all the fancy film techniques of the time, and that is one reason why it is such a masterpiece. When the two brothers are looking at the fish it is somber, in the way the speech is projected in such a low manner. The elder also tends to look quite somber, he relates to the fish and it makes him think about the life for himself and his brother so he becomes depressed. However, since both brothers are so enthralled with the fish it tends to be a light-hearted scene. When Rusty James listens to his brother about the fish let alone anything he finds it all interesting

and he is happy to hear anything he has to say. Rusty James does look and sound quite confused when his brother is talking to him, he continuously scratches his head and also has a dumbfounded look on his face. The lighting does not change much in this scene however the natural lighting that is throughout the whole movie almost makes this movie what it is. For the majority of the scene the camera is on the opposite side of the fish tanks, and even when it is not the scene always maintains an objective point of view. It is obvious that the camera is in an objective point of view because it is on the opposite side of the fish tank or it is directly in the face of Rusty James, the Motorcycle Boy or the officer. The objective angle across from the fish tank is exceptionally effective because it gives the viewer a chance to see the faces of the two brothers when the elder is explaining and the younger is trying to comprehend. The objective point of view adds to the way the viewer sees the way Rusty James feels about his brother. As said before this scene says a lot about the intelligence level of Rusty James and also how much he looks up to his brother. As far as the Motorcycle boy is concerned this scene exemplifies how much he cares about his brother even though he is not able to show it. Even though Rusty James has such a hard time comprehending what his brother is taking about he still pays such close attention and does everything he can to understand what he is saying. He even tries to make comments that will add to the conversation. The Motorcycle Boy shows that he cares about his brother by the use of his metaphor of getting the fish out of the pet store compared to getting his brother out of town. Even though Rusty James may not be able to link these ideas together, the fact of him caring about his brother is brought out. This film is full of scenes that are done beautifully, and there are many that could have been analyzed. However, noticing the metaphor of the fish to the two brothers it seemed that this would be a perfect scene to analyze. Most of the other scenes all contained the film elements that would allow for a wonderful analysis, however they did not always have the deeper meaning tied in. As far as the film elements this scene showed them as well as any other scene, with a beautiful example of the natural light used throughout the film. This is so very important to the overall meaning of the film because the title is explained. The Motorcycle Boy tells Rusty James that the fish are "rumble fish," and he thinks that is the fish were put in the river they would not fight anymore. He is explaining that people just like the fish would not fight so much if they had space, and this is the message that Coppola was trying to convey in creating this film.