Marcello wakes up with a annoying whistle in his ears and with a message from his girlfriend Alice tells him that his friend Louis is dead, but he does not remember his existence. This is the plot on which this particular and intelligent comedy develops, very cheap (about 150,000 euros, less than a third of a low budget movie) but very well both in technical and narrative terms. Already the size of the image is particular: the film starts with a square format of 1:1 and then goes to the classical 1.85:1, this choice is not random and is closely related to the narrative plan and the development of Marcello's story but not I say something else to avoid spoiling it. The film is shot in a great black and white I do not know how about stylistic choice and how much for lack of funds anyway the result is great, photography along with the assembly (very dynamic especially in the first part) and the beautiful soundtrack are combined in a very fluid and pleasant way. I have to say two words about the cast that is top-notch and seems to have moved the whole project to the point of giving up its remuneration, the characters are very well-defined and there are many comic scenes and funny finds. Above all, the choice of secondary characters seems to be very good, contributing to the success of absurd gags, often mute, in which the only faces or looks of the characters induce a smile or a laugh. In short, this film is funny,intelligent, never vulgar or unguarded, and this is another point in favor of this second work. Now let's go to what I think least works in this great film, the second part loses much of the rhythm we've seen in the first part and the dialogues are lengthy and sometimes become almost repetitive as Marcello's final monologue expires in a moralism typical of a certain Italian cinema. Even some gags, as veritable and fun, are perhaps a bit forced to risk slipping into the snout. Overall, however, it is a movie to be seen, fun and desecrating at the right point that in my opinion will become a little cult movie.
Reviews
2 Reviews
Rumble Fish
(1983)
Rumble Fish: a title that saying everything
23 May 2017
The title manages to perfectly express and synthesize the plot and the meaning of the film. The story unfolds around the figure of Rusty James (Dillon) who metaphorically and literally struggles to be accepted as a leader among the boys in Tulsa (Oklahoma) that fight is countered by the figure of the idyllic brother Motorcycle boy (Rourke) of the young, undisputed boss At the time of the repentant youth bands, returned after a period in California now grown and disillusioned by the dynamics of the small center of the province.During the film there is a symbolic passage of deliveries between the older brother and the smallest who will not be without consequences. They are the rumble fishes that fight in the absence of living space as a fish in front of a mirror. This image, which is presented to us in the fish shop scene, serves to frame Rumble James's rivalry against his brother. The film is stylistically very peculiarly shot in a fake black and white (only 3 significant shots are in color) with shadows and a photograph with strong references to expressionist cinema (blades of light and shadows stretching), The camera is often at the level of the ground by framing the characters from below or taking them to the top, but keeping the depth of field that allows us to keep the attention that happens in the background. The story is told through a multiplication of narrative points: the main one is that of Motorcycle Boy that is color-blind (in fact the film is in black and white), then there is Steve (Spano) who writes everything that happens and the Rusty James point of view through his process of growth and existential harm. The gang- fighting scenes are almost danced, a clear tribute to West Side Story movie. Another feature that affects the eye is the constant presence of moving clouds (representing the timelessness) of the story or the smog, the puff puffs or the fog in almost every scene of the film. All this is marked and rippled by the stunning soundtrack of Stewart Copeland (police drummer) that accentuates the suspense with timid, stingy, stingy whispers, whispers in the background. Inside the soundtrack we also find the beautiful "Don't box me in" (non-casual title) sang by Stan Ridgway. Although the little success at the time of his release has subsequently become a cult film thanks to the cast, which includes, in addition to Dennis Hopper and Tom Waits, a host of young actors who will make Hollywood's fortune from Matt Dillon to Mickey Rourke Vincent Spano, Nicholas Cage and Diane Lane as well as a very young Sofia Coppola.
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