5. Birdy – Ben’s Take

Birdy film poster

What you can’t see is the pile of human feces at the end of Matthew Modine’s bed

On it’s release in 1984, Birdy received a strong critical reception, currently standing at 88% fresh on Rotten Tomatoes. The New York Times review said of it ‘The most unusual thing about ”Birdy,”… is its lack of allegorical implications.” but that could not be more wrong. Most people might think that Birdy is a story of two men finding their way back from the trauma and tragedy of the Vietnam War, and one man’s strange lifelong obsession with birds, but Birdy is actually a shockingly visionary, forward-looking and prescient film. About the Internet. Well, more specifically, it’s about the ways that the Internet has given rise to a number of subcultures of mentally, emotionally and socially-stunted individuals who are wholly unprepared to deal with the rigors of everyday existence.

Our film begins with stark, white-on-black credits with the score in the background, before dialogue starts to gradually bleed in. This may be perhaps to highlight the music scored by Peter Gabriel, who receives a prominent place in the credits. The music during the film is a little strange and uneven at times, belying the work of someone unused to creating a consistent aural soundscape across 2 hours. The music playing over the credits is all menacing orchestral drone and discordant melodies. It sounds a little bit like a perfume advert in Silent Hill. In a pleasant change to the last few films, we get our quickest introduction to Cage yet, with the film opening to a shot of him being wheeled on a gurney so that we can appreciate the extent of the wounds his character, Al, has received in his time at Vietnam. After a couple of much more Cage-light films, it’s a refreshing change to have him placed front and centre throughout the whole film, forced to do much of the dramatic heavy-lifting as Matthew Modine spends much of his time squatting naked and staring at windows.

But I get ahead of myself, after we establish that Al needs to keep his facial bandages on for a few days, that he won’t know the extent of his facial scarring until they come off and that he’s travelling back home, we get the first of many flashbacks through which most of the story is told. This first is a scene of Nic Cage playing baseball with a number of small children. It’s an odd scene for a couple of reasons. The first is that the surroundings are a weird kind of blend of pastoral, idyllic, smalltown America and grimy depression-era decay. The back yards are covered with bare dirt and dead grass, everyone looks like they’ve been artfully rubbed down with dirt but it’s all presented as happy nostalgia funtime. The second reason is that, at this point, Cage would have been 20. Every one of the kids he is playing baseball with is aged 7 to 12. He looks like either someone’s hyper-competitive dad trying to make damn sure his kid’s team wins their Little League match or a pedophile content to play the long game. Regardless, through this game we receive our first introduction to the character played by Matthew Modine, Birdy, as he perches in a tree, watching the game disinterestedly.

In the next scene we see that, in keeping with previous films, Cage is a playa. He’s busy getting to solid second base with a young lady under the bleachers before one of the kids from earlier rather rudely interrupts and tells him that Birdy has his knife. One minor tussle and misunderstanding later and Birdy is winning over Al with the magical powers of pigeons. Once more we encounter what I’m going to term the Cage motif of main characters being lucky with women despite being terrible at them when Al sends away his girlfriend in a huff because he wants to stay and hear more about pigeons. One of the kids opines that he’d buy a carrier pigeon if he had the chance and Al decides the pigeons represent a valuable business opportunity (some people are not born entrepreneurs). We are then treated to a montage as Al and Birdy attempt to start their pigeon-raising business, with the both of them clambering around under bridges, building pigeon coops, Al yelling ‘Fuck you’ at a bird and Al screaming in triumph because they have trained a bird to fly back home from 10 feet away. At this point the music has changed tone dramatically from weird menacing orchestral stings and drone to meandering plinky-plonky piano music that sounds like it’s been miked up to an amplifier in a tin bathtub full of tinsel and aluminium foil. We can tell we have reached the climax of this portion of the film when the score changes up yet again to someone tunelessly noodling away on a flute over the top of what sounds like industrial threshing machines engaged in foreplay. It is at this point that Birdy crafts a pair of pigeon suits which he claims will help him and Al catch more pigeons. Wearing the suits, they break into a factory but Birdy has an accident and ends up dangling off the side of the building. He tells Al he’s going to fly and lets go of the building. Shockingly, his flight ends up somewhat vertical and luckily he falls into the nearest sandpile.

It is with the introduction of the pigeon suits that the nascent themes of the Internet first became apparent to me. By the standards of the time, Birdy might just be judged a weirdo. An odd fellow with an unusual prediliction for birds. In a modern context, however, we have another word for him: Otherkin. For those not familiar with the term, Otherkin are people who are convinced that they have the soul of another creature born into a human body by mistake. For a wonderfully concise summation of Otherkin, read this blog entry from a winning specimen of humanity who, so thoroughly unable to deal with even a single shift of actual work, starts ‘shifting’ into their wolf form, growling at customers, gets fired and cries oppression. Birdy is a prime candidate for Otherkin, he is obsessed with birds, feels an unusual kinship with them, wants to fuck them (more on that later I’m afraid) and, possibly the most important qualifier for being Otherkin, is a lonely, socially-inept person with few friends and fewer prospects.

But I digress, after Birdy’s inelegant swandive off a building we skip back to the ‘present’ for a while. Birdy’s doctor explains to Al that they brought him here in the hopes that it would prove good therapy for the both of them, and reveals that Birdy’s wounds when he was brought in were minor, but that he was MIA for a month. We also see that Al has some damage of his own, as he nervously jokes with the doctor about how he hoped the steel jaw they fit him with would make him a great boxer, but apparently one punch will send the pins into his brain and kill him and ha ha ha isn’t that funny? Cage sells this part well, his breathy, nervous laughter showing what a thin veneer he has over the mental scarring he’s carrying around inside. The role is a good fit for Cage, all the outward trappings of the smalltown manly war hero, all covering up a smouldering self-destructiveness and fear of the future.

At this point Al and Birdy have their first meeting in the present day. Al does all the talking, as Birdy just squats and glares nervously around the room, at least until a cute nurse enters the room to feed Birdy and Al proves that no matter what, Cage is still Cage by macking on her while both her and birdy are covered in what looks like mashed potatoes mixed with rubber cement and roofing tiles. You would think this an inelegant opportunity to make a move, but he does later on end up almost fucking her in a store cupboard before breaking down and crying. Yeah, I’m gonna chalk that one up to ‘unusually successful with women despite being terrible at them’.

We eventually find out that during Birdy’s stay at the hospital following his less-than-successful attempt at flight, his parents trashed their birdhouse, poisoned half the pigeons and had a local poultry butcher take away the rest. A somewhat reasonable reaction really considering that Birdy’s obsession led him to break into a factory and jump off it. Birdy, however, remains totally unconvinced, attempting to assure Al that ‘pigeons aren’t stupid’. This will, of course, come as a shock to those amongst you who have ever come across a pigeon, in the real world, ever. Again, Otherkin are notoriously prone to exaggerating and romanticising the characteristics of the animals they claim to be, claiming that wolves, for example, are kind and noble creatures as opposed to overgrown dogs. While Al is more grounded and accepts their pigeon-farming days are over, moving on to the next money-making project (fixing up an old car), Birdy descends further into his obsession. Evidently believing that the only thing stopping him from flying last time was not really knowing how to, he builds a giant birdcage in his bedroom and squats in it naked while monologuing that the birds must be as free as possible (not the smartest, this guy).

The guys eventually fix up the car and drive down to the ocean. Birdy is ecstatic, as there are so many exciting new experiences that can be related back to flying. Swimming! It’s like flying! Rollercoasters! They’re like flying! Al, meanwhile, has more prosaic concerns, and is more focused on meeting young women. Leading to a lovely freak-out moment where he stands there screaming ‘THAT’S FIFTEEN MISSISSIPI BIRDY!’ at a seemingly empty ocean. Birdy then goes on to demonstrate an almost aggressive cluelessness around women. While Al is busy screwing his young lady under the boardwalk, Birdy keeps his entertained by seeing how long he can hold his breath and inviting her to try. Al tries to talk some sense into him, giving him advice on talking to women, but Birdy is too busy running up and down the beach flapping his arms at the time. Hardy Internet veterans will recognise some of these characteristics: a cluelessness about sex that borders on intentional, an almost pathologic inability to empathise with others interests or conversations and a single-minded fixation on the object of obsession. Birdy is not just an Otherkin, he is starting to embody the very worst of all Internet subcultures. From Internet asexuals to fandom nerds to otherkin, he has become the platonic form of the Internet loser.

Birdy’s obsession only deepens as he switches the object of his affection from pigeons to a yellow songbird he purchases from an old woman. He sits naked in his cage with it, looks at it adoringly as it perches on his finger, has erotic dreams about it, at this point he has fully fallen down the rabbit hole as Al, born in an age without the Internet to consult, remains obliviousness to the extent of Birdy’s sickness and carries on attempting to lead a normal friendship with him. However, for someone so obsessed with birds, Birdy proves to be a truly shitty birdkeeper. First he lets a cat get into his room through his lack of attention and, although the yellow songbird is injured, he manages to save it from the cat. Secondly, however, he lets it out of the room to fly, forgetting that the window was partially open. The bird flies out of the window and Birdy is unable to fully open it in time before the bird flies smack into the window and dies. Despite profession to be some kind of expert on birds, Birdy doesn’t really seem to know fuck all (another sentiment common to Otherkin).

Eventually, after a strict training regimen (consisting of lots of flapping) and entirely too much indulgence from his genuinely kind, caring and loving father Birdy attempts to fly. He perches on the front of Al’s bicycle and is launched off a pile of garbage at the dump, flapping a pair of homemade wings. Despite his constant assurances that he need only truly need believe he can fly, Birdy ends up in a pond.

Things really continue on much the same trajectory, as we see how Birdy’s deepening obsession leads to him rejecting any chance of a normal life of actual worthwhile human interaction. A cute young girl takes a liking to him, asks him to the prom and gets topless in a car with him, for him to just sit there and stare at her rather lovely rack in a state of puzzlement. He screams at Al’s father like a petulant child for selling the car after they crash it (not to mention the fact that neither of them has a license or are old enough to drive). He has a naked makeout session with one of his birds. Meanwhile, in the present day, Al does his best to reach Birdy but his condition fails to improve and the situation looks dire, as if this therapy is not successful, Birdy will merely be left to exist in his catatonic state with no further attempts to bring him out of it. The film reaches its climax as we see what happened to him in Vietnam to bring about his trauma. He is left for dead after an ambush and comes to surrounded by the bodies of his fellow soldiers, and sees wings of birds take flight and fly away.

The film itself is actually a worthwhile piece of cinema. Sloppy and uneven score aside, the cinematography is good, including a gorgeous crane-shot sequence as Birdy imagines himself a bird (what else) flying over his neighbourhood, and we can become invested in the relationship between Al and Birdy. It is interesting that the film completely recontextualises itself in light of modern social developments on the Internet, becoming not a story about a young man’s trauma, but an elegy of a sad loner’s social disfunction, driving him away from the rest of society into the arms of his barely-understood obsession.


Birdy (1984) – Lauren’s take

Ok, I need to do this quickly as I’m drunk and my notes won’t make sense tomorrow.

We open in a hospital in the 1960s, and see a bandaged up Al (Cage) within the first few minutes, so already this is better than the previous films where Cage makes an appearance in the first 20 minutes if we’re lucky. He goes to visit Birdy (Matthew Modine), who is being kept in a psych hospital after going MIA for a month in Vietnam. Basically Birdy has had a psychotic break and thinks he’s a bird, and his doctor thinks Cage can break him out of it.

The story of Al & Birdy’s friendship is told in flashback, where Cage is the neighbourhood nice-but-tough school wrestling champ and Birdy is a weird guy who has a hard on for birds. Upon realising that Birdy’s plan to create carrier pigeons might be lucrative, Al decides to help him catch a bunch of pigeons. This involves the two guys wearing pigeon suits and Cage saying ‘fuck you’ to a pigeon, which is pretty funny. On a pigeon catching mission Birdy slips off a roof but manages to hold on, but doesn’t seem to be too bothered about it as he thinks he can fly. He ends up falling about four storeys into a pile of sand. Birdy doesn’t seem too freaked out by this, but Al is freaking out.

We start to see how socially inept Birdy is, when Cage bangs a chick on the beach and Birdy fails to carry a conversation with the girl’s friend not two metres from where Cage is nailing this chick. There’s a funny conversation about boobs then the boys are arrested for some reason that wasn’t entirely clear – something about their car being registered to Al’s dad or something.

We go back to the psych hospital intermittently, and see Cage trying to get through to Birdy in his catatonic state. It’s really sweet seeing Cage trying to pull his mate out of his stupor, especially when Cage gets upset and the nurse goes to comfort him and he grabs her boob. Cage, never change man.

So back in our flashback we see Cage helping Birdy to fly, by riding a bike through a rubbish dump with Birdy on the front of the bike wearing wings. Birdy flies for a few seconds and lands in a pond in the tip. The thing is, Birdy really thinks he can fly, and for a while Cage does pander to his fantasy.


Stuff happens:

  • The guys work out, we see how ripped Cage is
  • Cage has luscious hair
  • Birdy tries to speak canary
  • They help a dog catcher catch dogs, but when realising the dogs are going to the butchers, the boys set the dogs free
  • Birdy has bunk beds, but where the bottom bunk should be instead there’s an aviary
  • There are three kitties, one of which tries to eat Birdy’s canary, but Birdy saves the canary and it’s all happy and stuff
  • The boys go to the prom, and Birdy touches his date’s boobs but then she gets weird about it, and he goes home, strips off and makes out with his canary for a bit

After this bit there’s a lovely sequence using crane shots which represent a bird’s eye view, flying throughout town. It’s lovely and probably my favourite part of the film.

We go back to the present in the hospital, and Al has finally gotten through to Birdy, and brought him out of his bird delusion. Cage busts Birdy out of his room using his mad ninja skills and they try to escape. They flee to the roof and Birdy runs to the ledge and  makes like he’s going to jump off (not surprising at all, Cage probably should have thought of that).  He does jump, but when Cage runs over we see than he’s only jumped about two metres down to the next level and is like ‘what, bro?’. And that’s where it ends.

A few points:

  • Even though Cage had second billing, he really lead this movie.
  • Al is really sweet to Birdy
  • Things get a little sexual between Birdy and his canary, and that’s a bit weird.

Man, I do not advise doing this while drunk, it’s really hard. Sorry if things don’t make sense, you’re just going to have to live with it.


4. The Cotton Club – Ben’s Take

The Cotton Club film posterForming the second film in the Nic Cage/Francis Ford Coppola Nepotism Trilogy, The Cotton Club was released in 1984 to generally positive critical reception. The film currently stands at 75% fresh on Rotten Tomatoes. The film, however, wasn’t without it’s production woes. Apparently Coppola and the film’s producer, Robert Evans, got along so badly that at one point Coppola banned Evans from set. Not only that but Evans raised funds for the film’s lavish production from Arab arms dealer Adnan Khashoggi and vaudeville promoter Roy Radin who was later murdered and, although Evans was never accused of the crime, he was implicated as Radin was murdered by the woman who initially introduced the two, Karen Jacobs-Greenberger. With that kind of tempestuous background, it seems only fitting that The Cotton Club is a sumptuous period drama about the characters surrounding the famed Harlem jazz club of the same name. The film centres around two concurrent plotlines, Richard Gere plays jazz cornet player Dixie Dwyer who is drawn into a seedy world of organised crime after inadvertently saving mob boss Dutch Schultz’s life while Gregory Hines plays dancer Sandman Williams who, along with his brother Clay, get their big break when they’re hired to perform at the Cotton Club. The film opens on the first of many musical numbers, this time at seedy downtown jazz joint the Bamville Club, where Dixie is on stage playing a trumpet duel with another unidentified musician while Sandman struts drunkenly, beer in hand, back and forth across the stage in front of them. I can only assume it’s supposed to be some kind of dance move, as he does bust out some more moves later, but I remain unconvinced as to the impressiveness of the Jazz Strut. The film at this point takes great care to point out to us what hot shit Richard Gere is. Alone amongst the cast, the credits inform us that Gere played his own music and members of the audience comment on just how damn good he is, and that he plays pretty good for a white kid. Mob boss Dutch Schultz (played by the always fabulously-menacing James Remar) is in the audience and while his entourage are striking out with a group of girls at the next table, as soon as they invite Dixie to sit with them he woos them over by yelling, I kid you not, ‘yoo-hoo!’ at them. At this point I can only wish I had a major motion picture this dedicated to telling the world how awesome I am. Perhaps Coppola owed Richard Gere money, lord knows.

Soon after Dutch invites Dixie over to sit with him we see quite possibly the shittest, most half-hearted assasination attempt ever. A man masquerading as  police officer toses a lit stick of dynamite under Dutch’s table. However, Dixie spots it and pulls Dutch away as the dynamite goes off with approximately enough force to knock Dutch’s hat off if he’d had it in his mouth. I’ve taken post-vindaloo shits that were more explosive. The would-be assassin then shoots one of Dutch’s hoods and promptly fucks off. If he had a gun, then one has to wonder why not take the extra two seconds to put two in Dutch’s head before running away. At this point Dutch is lying prostrate on the floor, it wouldn’t be difficult. I can only surmise that the assassin was so embarassed by the utter failure of the dynamite to do more than knock over some drinks that he felt the need to flee before anyone recognised him and could tell the world what a shit hitman he is.

After saving Dutch’s life, Dixie escorts home one of the ladies he invited over to the table, Vera Cicero, played here by Diane Lane, who was nominated for a Razzie award for this performance. It’s not hard to see why, she decides to respond to the explosions and gunfire going off 4 feet away from her by cackling and giggling uncontrollably. It’s like a Mormon’s understanding of what it’s like to be drunk. Regardless, Dixie takes her home and proves his virtue by not having sex with a catastrophically drunk Vera who, at this point, is climbing around on the bed and complaining about her ringing ears (hey, it was the 1920’s, sexual politics set the bar a little lower back then).

The next day we get our first introduction to Nic Cage, who plays Dixie’s brother Vincent, as he sits with Dixie in a diner, recounting the events of the previous night which have made the papers. It’s a short scene, and we’re pretty much set on the fact that this is going to be another film that’s entirely too light on the Cage. Afterwards we’re itnroduced to the other main storyline running throughout the film, that of Sandman Williams and his brother Clay as they sit in their apartment eating breakfast with their family. It is at this point that I begin to doubt the ability of the wardrobe department as Clay is wearing his dressing gown with his fedora and I’m pretty sure you’re not supposed to do that. Breakfast soon turns into a brief impropmptu dance-off which will be a defining feature of the Sandman storyline. Sooner or later all social situations and problems will be solved by dance. It’s kind of like a racist version of the Second Law of Thermodynamics; rather than entropy, the amount of dancing in a closed system of black people can only increase.

After a brief interlude with a little more Cage, including the revelation that he has been recently married and has a permanent hanger-on called Sam who, for some reason, follows Cage and Gere into their parents house, we go back to Sandman Williams to find he and his brother’s audition for the famous Cotton Club has been successful. As they are leaving Sandman spots Lila, a biracial dancer at the Cotton Club who is able to pass for white. Instantly smitten, he continues the fine Cage movie tradiiton of being bad at courting women by telling her he’s having a heart attack, then following her to work before being thrown out by the club’s racist stage manager. And then we’re back to Dixie, as he plays a gig before being summoned by fantastically deadpan Sol Weinstein, telling him that Dutch wants him to play piano at a private party. The party turns out to be a mob meeting and while Dixie meets Vera again (the singer at the party and now Dutch’s girl) and starts to fall for her, no doubt thanks to her headwear that looks like what happens when a yarmulke fucks a beaded curtain in a rhinestone factory, Dutch meets with charming Cotton Club owner Owney Madden (played by Bob Hoskins), his faithful compatriot Frenchy (played by looming Herman Munster actor Fred Gwynne) and another mob boss whose name I can’t remember and frankly isn’t very important. This is because, minutes later, after the mob boss starts talking trash about Jews, Dutch stabs the fuck out of him and puts him through a table. Like you do.

After this the two storylines intersect, with Dixie taking his mother, Vincent and Vincent’s wife to the Cotton Club, which just so happens to be Sandman’s first performance. Dixie is formally introduced to Owney while Sandman experiences some rather perfunctory racism from the stage manager while Lila does a sexy dance onstage to a woman alternating between operatic high notes and ten thousand frogs on helium. Dutch is at the club with his wife so has entrusted his man Abbadabba to look after Vera. As a brief aside, the people in this film have the best names ever. Dixie Dwyer, Sandman Williams, Frenchy Demange, Abbadabba Berman, Bumpy Rhodes, you just don’t get that quality of nickname anymore. Abbadabba, however, does not live up to the quality of his nickname and demands that Vera roll her tongue for him, whereupon he bursts into uproarious laughter. I guess people were more easily amused before the Internet. Sandman and Clay have their big performance, and thankfully nobody seems to notice that they spend most of it off the beat. Sandman scores a date with Lila and Dixie is told by Dutch that he’s now under Dutch’s employ and that he’s to start taking Vera around and showing her a good time, and he doesn’t have a say in the matter. Which seems to me a kinda shitty way to treat a guy who saved your life.

Sandman’s date with Vera goes surprisingly well, considering that his opening gambit is to beg her to marry him (after probably having spent a total of approximately 30 minutes total in her company), dragging her out of the building and into a dingy backstreet club where once more he resolves a social situation through dance. Apparently you get enough 1930’s black people together in one place and they start solving all their problems with intricately choreographed soft-shoe routines. Y’know, even though the stage manager who doesn’t want Sandman seeing Lila is pretty racist, he kind of has a point. Sandman is impulsive, irrational and kind of bad with women. He’s probably just as worried that he’ll end up in a messy break-up where Lila has to file a restraining order.

Meanwhile Dixie is proving himself to be just as bad with women. After being instructed to escort Vera around town, he takes her dancing. First he tells her all about his past as a gigolo and then the two start slapping the shit out of each other on the dancefloor and throwing each other around. Wary that this sort of thing might find him getting more than a little stabbed up by Dutch, Dixie plays it off as a particularly aggressive tango and, rather than call the police, fellow dancers all start slapping each other like the Domestic Violence Two-Step is the latest craze. Impressed by his woman-slapping chutzpah, Vera goes home with Dutch and boinks him.

Thankfully Dixie is able to break free of Dutch as Owney has arranged for him to screen test for the movies. But as Dixie makes his break for the coast, Vincent becomes even more embroiled with Dutch, starting a war with the local black gangs over the numbers racket and shooting up the Bamville club. And so we see a montage of Nic Cage and his goons hatecriming the fuck out of some black people set to, you guesed it, another lush song and dance number. We also see Sandman pushed to the brink by the tacist stage manager, as he is forbidden from going up on the roof to talk to Lila because, I dunno, the roof is for white people only? After being threatened with a knife, he goes to local black gangster Bumpy Rhodes (played by the always awesome Laurence Fishburne) and demands that he kill him, but Bumpy says he’d never survive a gang war with Owney and advises him to, once again, solve all his problems with dance.

Vincent, on the other hand, might be wishing he could. Following an argument over payment with Dutch, Dutch sends one of his goons to kill Vincent’s right-hand man and perpetual hanger-on. Vincent responds by attempting a drive-by shooting on the goon but proves to be a poor people manager and all the people doing the shooting have such shitty aim that they gun down several innocent civilians. With a price on his head, Vincent decides to kidnap Owney’s compadre, Frenchy, to score some money to get out of town with. Meanwhile, Sandman and his brother Clay (whom Sandman earlier screwed over by striking out on his own) resolve their differences by sitting down and talking it ov-hahahaha, oh God, sorry, no, I can’t do it. They resolve their differences with another musical number. Seriously, by this point I’m starting to wonder if they have some kind of dance-focussed autism.

Back to Vincent and now Owney ropes Dixie into exchanging the money for Frenchy. The exchange goes smoothly and we’re treated to a genuinely touching, funny reunion where Frenchy smashes Owney’s watch to see if Owney cheaped on the ransom, then reveals he’s bought him an even better watch when he finds out he didn’t. Shortly after, Vincent is gunned down as he attempts to flee the city, marking Cage’s exit from the film and first ever on-screen death.

After that, things start to wrap up pretty quickly. Bumpy Rhodes and his boys solve racism by giving the racist stage manager a swirly, Owney and Frenchy decide Dutch is too unstable to have around and we see him whacked as Sandman and Dixie finish out the film with a big musical number together. Dixie and Vera share one last embrace before they never see each other again and the film is done.

Taken a a whole the film is possibly Cage’s first movie that stands up as a reasonably quality film. It doesn’t have Valley Girl’s ungainly, inhuman weirdness, Rumble Fish’s leaden heavy-handedness or Racing With The Moon’s stultifying small-town dullness. However it’s far from an excellent film. It’s an ungainly beast, it feels like someone stapled a Baz Lurhman production to a Mario Puzo script (Puzo was involved with the writing of the film). Half the film is lush, beautifully-shot musical numbers, the other half is trying to be gritty gangster drama, but when half the film’s problems are resolved through dance, it lacks narrative weight and feels as artificial as the mob films Dixie runs away to star in. Is it worth a look? Maybe. Not as an important film in Cage’s development, but as a way to spend a couple of hours, you could do worse, and the film is awfully pretty.

Rumble Fish (1983) – Lauren’s take

Ok kids, our latest piece of Cage is Rumble Fish, directed by Cage’s Uncle Frank (Coppola, duh).

Rumble Fish follows Rusty James, a hoodlum in Anytown, USA. His brother, the Motorcycle Boy, split town a few months back, his dad is an alcoholic and his mum ran out on the family a long time ago. Rusty James tries to live up to his older brothers reputation as the preeminent gang leader in town by fighting another gang leader, violating the treaty his older brother set up against rumbling between the gangs. Big bro returns, looks all pensive with his face acting and not much else happens. Seriously, such a let down.

The film does have its redeeming features, namely the fucking incredible cast: Matt Dillon is the protagonist and Micky Rourke is the Motorcycle Boy, and they are supported by Dennis Hopper as the alcoholic dad, Diane Lane as Rusty James’ girlfriend, Sofia Coppola as her kid sister and Cage, Laurence Fishburne and Chris Penn as Rusty James’ fellow gang members. Tom Waits is even in it, which made Adam squee. However, this amazing cast could not save me from my boredom. The film definitely has its moments, for instance the gang fight at the beginning of the film plays exactly like the music video for Bad, with a little Footloose thrown in for good measure. There are two kitties in the film, which gave me the happies. We also see Cage in an orgy with at least four girls (although I’m sure this is pretty standard for Cage), but outside these moments the movie really drags. For some reason we’re treated to an overuse of smoke machines (seriously, do all the streets need to look like a war zone?) and Rusty James is so unlikeable that it makes the film a chore to watch. And there’s not enough Cage, but with the film being so early in his career we begrudgingly put up with it. He does steal Rusty James’ girlfriend, which to be fair I think we all know who we’d pick given the choice between Matt Dillon and Nicolas Cage. 

So to summarise, Cage has sex with a bunch of chicks, has awesome hair and steals Rusty James’ girlfriend, just because he can.

Verdict – don’t bother, there’s not enough Cage in it to justify sitting through the movie.