No wisecracking high-school cliques to be found here. I hated my parents and felt trapped in my houses my parents divorced when was young. But Rumble Fish's style is more than mere pastiche. Nevertheless, for all its postwar morality, Vic Morrow's surly Artie West is the film's real antihero, leather-jacketed and blank, the logical heir to Marlon Brando's Wild One of just two years earlier. The latter demographic barely even figures in the story. I know I internalized a lot of what these men said to me, what they did.
At the time, all I wanted to do was run away; I was counting down the days until I turned
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I realized that I had been taken advantage of, manipulated and used The ending is twee and well signposted, but what's refreshing about Juno is that there is no takedown of its intelligent lead. One extended slow-motion sequence, based on Linklater's own experiences, shows younger pupils such as the greenhorn hero, Mitch Wiley Wigginsbeing captured by older lads and beaten soundly on the hide with bats. Which just to clarify is still rape. I wish I could tell them that they can make it through, that they're being deceived, that they can have so much more. With its melancholy undertones and hour time-frame, the movie occupies similar ground to American Graffiti and Dazed and Confused, but is distinguished by a post-Porky's sensibility that simultaneously satirises and celebrates pre-PC smuttiness.