The Outsiders.

Review #1469: The Outsiders.

Cast:
C. Thomas Howell (Ponyboy Curtis), Matt Dillon (Dallas "Dally" Winston), Ralph Macchio (Johnny Cade), Patrick Swayze (Darrel "Darry" Curtis), Rob Lowe (Sodapop Curtis), Emilio Estevez (Keith "Two-Bit" Matthews), Tom Cruise (Steve Randle), Glenn Withrow (Tim Shepard), Diane Lane (Sherri "Cherry" Valance), and Leif Garrett (Robert "Bob" Sheldon) Directed by Francis Ford Coppola (#592 - Dementia 13, #1139 - Supernova, and #1460 - Apocalypse Now)

Review: 
"I used to be a great camp counselor, and the idea of being with half a dozen kids in the country and making a movie seemed like being a camp counselor again. It would be a breath of fresh air. I'd forget my troubles and have some laughs again." 

The 1980s were an interesting time for coming-of-age dramas along with Francis Ford Coppola. It was the busiest decade of his career, if not the most difficult. Having reached a peak with Apocalypse Now (1979), he tried to further innovation in films with the music fantasy One from the Heart (1982), which proved a failure with audiences and wrecked his finances with Zoetrope Studio (now known as American Zoetrope). He would ultimately direct six further films in this decade (including a segment for New York Stories in 1989) while trying to get out of his debts, and two of his films were uniquely released in the same year that were adaptations of S.E. Hinton novels in Rumble Fish and this film (based on the 1967 novel of the same name). The inspiration for the film came from an interesting source: a petition on the behalf of middle school students of Lone Star Elementary School in Fresno, California by school librarian Jo Ellen Misakian, since the students felt that Coppola would be a great director to make a film out of such a key book of reading from the famed author in Hinton (who wrote it as a teenager inspired by rival gangs in her high school in Oklahoma, where the film would be shot). She was very involved with the making of the film, having numerous moments of enjoyment spent with the actors of the film. One can only imagine how much interest can be generated from a film with so many young and aspiring actors present in one film: Cruise (in the first of four key roles in a breakthrough year), Swayze (a talented dancer in his second film role), Dillon (a teen idol that starred in two other Hinton adaptations in Tex and Rumble Fish), Lane (making her transition into older roles after debuting in theater at age six and film at 14), Macchio, Lowe and Estevez (with this being a breakthrough for the latter three).

There exists two different versions of the film: The original version of the film ran for 91 minutes after Coppola edited it down from 133 minutes of shooting because of studio fears of it being too long. In 2005, he decided to do a new version of the film, inspired to do a version that restored the film to be more faithful to the book that his granddaughter could watch. The newest edition of the film, called "The Complete Novel" release, runs at 114 minutes, since Coppola re-incorporated 22 minutes of deleted footage while also taking out footage from before while also replacing most of Carmine Coppola's musical score with comtemporary 1960s music. Regardless of how one sees the film, there is a fine sense of craftsmanship in making a captivating coming-of-age story with touches of realism and style that reach most of what it desires to say about the nature of teenagers when it comes to class and adapting to the way one was raised by a family (whether the traditional one or not). Nothing comes easy in life, particularly when it comes to trying to belong in society - that applied in the 1960s and it applies just as much now more than ever, as trying to find a place to belong with others doesn't change the struggle within us no matter the supposed evolution of community over the years. With a young and hungry ensemble like this, there is plenty to generate interest in making things come alive. As our focus for a primary amount of time, Howell proves himself worthy of our attention, a complicated kid on the crossroads that we can buy into fairly well. It is Dillon who commands attention with an irresistible and irascible hardened spirit. Macchio follows along with well-done conviction to follow along with Howell, with a sequence involving the sunset being a key highlight for each in idealism that will inevitably clash with reality. Swayze (the oldest of an teenaged/twentysomething ensemble at 31) is a weary but worthwhile presence to see help lead his family of brothers and outsider brothers. The others in Lowe, Estevez, and Cruise make their own interesting impressions (the best likely being a short scene of Estevez waiting for a conversation to end with Howell and someone else by cracking wise), while Lane proves a steady counterpart of the other side of town, bright in conviction.

In the end, The Outsiders still manages to reach an audience today because of what it can say about youth on the fringes. By the time it reaches its rumble for the end, one can find themselves swept over whose actually fighting who, as if the lines of conflict can muddle between what really matters, as signified by its true ending (or at least in its burning sequence), poignant in hardened reality without drowning its viewer in what really matters - to belong. In that sense, I would say Coppola certainly made a film worth belonging to, which all came together from kids that wanted to see the folks try to "stay gold" on screen.

Overall, I give it 8 out of 10 stars.