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This film bombed with reviewers and at the box office when it came out — but I loved it! And its soundtrack remains one of my accepted lps/CDs.
It’s a queer account of a biker gang leader (William DaFoe) who kidnaps a rock singer (Diane Lane) . Her nebbish manager (Rick Moranis) hires her ex-soldier/ex-boyfired (Michael Pare) to rescue her. He hires a sidekick, ex-soldier Amy Madigan.
What makes this film so odd is — you wonder WHEN it’s taking space. It’s corpulent of anachronisms. The art direction looks 1950s (the malt shop, some of the costumes, the customary police squad cars, the teletype) . Yet you have female soldiers, and an integrated police force. And the biker gang leader looks like he’s dressed for an S&M leather party, in a shadowy leather farmer’s overall yell. Very queer.
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The dialog is also weird. Very stylized — to the point of parody. Women are “skirts.” Everyone’s sarcastic, snarling zingers at each other. Even the bit players. The film feels like everyone in town, from street punks to cops to young girls, is a badass with a unpleasant attitude. And half the zingers seem to raze in fights. Very very curious.
The subtitle is: A Rock & Roll Yarn — whatever that means. Don’t try to understand this film. Impartial let it wash over you. You’re in a exclusive netherworld. Win it, and you’ll like the hotfoot. Especially if you like the music…
Some of the music written by Jim Steinman — if you thrill to the bombastic sounds of Bonnie Tyler and Meat Admire, you’ll treasure this soundtrack. There’s also a song written by Stevie Nicks, sung by Marylin Martin — who sounds exactly like Stevie Nicks.
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The sort of bizarre film where many will survey and wonder: What were they thinking? Others will emrace it with the adore that cult films attract. I did.
I first saw this movie during my formative teen years, and it has affected my sense of style and taste in music and movies ever since. Though I would not go overboard in saying that it is a “very marvelous” movie, but it is a “titanic” movie.
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It has been said that this is the ’50’s movie dwelling in the ’80’s Walter Hill always wanted to develop, and he succeeds in catching that feeling. The people are clad in ’50’s garb, the cars are graceful pieces of Detroit steel or Studebakers, the biker gang lives the dream of Link Wray’s music and the threat of Brando’s “Wild Ones,” the music is at times quick and urgent, like youth racing to an enchanting accomplish, or mopish and atmospheric, catching tension, sorrow, and romance. The production value is grand, every rain puddle in station, blooming neon colors, and a literally “ripping” scene disolve.
Hill has created a complete world here. The record takes status in a city that is so expansive a wanderer (such as Amy Madigan’s or Michael Pare’s characters) can pass through a “district” the intention an former west drifter would pass through a town (not the only similarity to westerns this movie has) . One can drive all night, passing through several of these districts, each with their believe distinctive character, without finding the extinguish of it. There is a run-down residential region, a nightlife strip, a spooky industrial residence, even a southern style district with racist cops! The character of these districts is expressed everywhere, from the production beget to the music to the costumes, so you can really get the flavor of it. I felt that the costumes especially should be commended (hello, academy), not only because they were well produced and looked superior, but also each costume expressed the character of the people wearing them and the district they resided in.
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The main action of the movie follows the pattern of a less serious version of “The Warriors”: our heroes must bag their plot home against tremendous odds. They must recall trains, retract cars, fight cops, and camouflage from their pursuers. Instead of the run-down griminess of a city on the edge of collapse, however, there is the sense of urgent vibrancy of a thriving culture.
Loving this movie so considerable, I have accumulated intention too powerful trivia about it. The name of the biker bar, “Torchies” is old in “48 hrs” “The Driver,” and “Brewster’s Millions.” The stripper in the bar is played by Jennifer Beales’ double from “Flashdance.” She was also in a rock video in the early ’80’s. The racist cop from the Ardmore is the Action News reporter from “Brewster’s…” The impart conductor was the DJ in “The Warriors.” Robert Townsend can be seen as one of the doo-wop combo, but does not have a single line, unless you count him lip-psynching the songs. They feeble such light-sensitive film in making the movie that some of the neon was too radiant and they had to paint it in.
The music, as has been said before, is astronomical. Ry Cooder (a frequent Hill colaborator) does all the incidental music covering such works as “Gather out of Denver” and “Rumble,” as well as creating some fresh pieces. It’s a shame none of it injure up on the soundtrack album. The Blasters hit their high-water sign of mainstream popularity with their performance at Torchies (this was my first exposure to them and they have been my approved band ever since) . The Jim Steinman anthems, though not his best, are very appropriate for the theme of misspent youth that the movie has. I don’t understand what The Fixx was doing on the closing credits, but it’s a wonderful song.
About the acting: it seems acting skills are in inverse proportion to matinee-idol attractiveness, but that’s OK, because the beautifully sparkling leads don’t have to do noteworthy (and Diane Lane is more blooming here than in any other movie before or since) . The less radiant secondaries pick up the respectable banter, and the stoic cop and the atrocious villain play their roles to the hilt.
Sure the station is predictable, corny, even. So is the dialogue. That’s share of what makes it so icy! Corniness comes from tradition and universality, so what makes it distinctive is the style, and what style! And its worth noting that the final showdown is one of the most piquant fights in cinema, and has a recent and thrilling esthetic.
So pop a brew, pour that tequila, regain some chips & salsa, cuddle with your honey, and crank up your stereo big-screen TV (hopefully you’ve got a widescreen version too) . This is fun, thrilling, and gargantuan, and if you’re not smooching by the extinguish, pick up another honey!
Just a conception about the DVD version vs. the VHS version…
In most instances, a DVD version of a movie is pleasant to the VHS version. The relate is sharper, the colors more intelligent, definite, and subtle, the sound better, and it is available in widescreen. All these things are moral about the Streets of Fire DVD, however…
This movie is not a subtle film. It’s splendid choices are doughty and strong, not subtle or deep. In the VHS version, where the main color on the cover is red, it totally bleeds RED. Where it is blue, and is a valorous and dominant BLUE, etc. On DVD these effects are lost as the sharpness of the medium brings out the subtleties of the colors. A shot that was dominantly blue is now a suble mix of greens and blues, and is weaker for it.
Also, that mature VHS had a trailer for “Conan the Destroyer,” one of the least subtle movies of all time.Seeing that before hearing that Ry Cooder riff really keep me in that mid-’80’s action movie mood!
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