I watched a movie on DVD last night that I’ve heard about for years but somehow never gotten around to seeing, an odd little flick directed by Walter Hill called Streets of Fire.
Subtitled “A Rock & Roll Fable,” Streets of Fire seems to have been deliberately designed to become a cult classic. The plot is basic and more than a little silly: an evil motorcycle gang kidnaps a beautiful young singer; her former boyfriend and miscellaneous sidekicks venture into hostile territory to rescue her; and then they all fight their way back out and prepare for a big confrontation with the gang’s leader. The dialogue is utilitarian at best and the performances so uniformly stiff that I can only assume everyone was directed to act as woodenly as possible. (I blame the direction because we have plenty of evidence from other films that this cast — which includes a very young Willem Dafoe, Amy Madigan, and the ultra-yummy Diane Lane — really can, you know, act.) What makes Streets of Fire at all noteworthy is the film’s look: it’s set in some weird parallel-universe urban environment where women wear shoulder pads and fingerless gloves like all the girIs I remember seeing from high school, but the men all look like they just stepped out of Rebel Without a Cause. Well, all except for the bad guys, who look less like the hard-ass outlaw bikers they’re supposed to be than leatherboys from San Francisco’s Castro District. The streets of this city-without-a-name are always dark and wet, smeared with reflected colors from the neon overhead, and all the cars are vintage. And of course, as the title promises, there are lots of pretty flames flickering behind the action. In short, the movie represents a total triumph of style over substance.
Not that this is necessarily a bad thing; as harsh as all of the above sounds, I really did enjoy the movie. It even helped me put my finger on something I’ve been thinking about for a while, and that’s got to say something for its merits.
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