Streets of Fire | | Cast : | Michael Paré, Diane Lane | | Director : | Walter Hill | | Studio : | Universal Studios | | Format : | Color, Closed-captioned, Widescreen | | Released Date : | June 01, 1984 | | DVD Released Date : | August 12, 2003 | | Language : | English (Dubbed), Spanish (Subtitled), Spanish (Dubbed), English (Original Language), French (Original Language) | | Audience Rating : | PG (Parental Guidance Suggested) | | | BUY THIS DVD FROM AMAZON |
Customer Reviews
| Rating |  | | Date | August 06, 2005 | | Summary | cult following | Content
 | This movie is the best of campy. The actors are reminiscent of the old dragnet TV show with bad one liners. The story line is shallow but cool, the music is really very good. I love this movie.
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| Rating | | | Date | July 19, 2005 | | Summary | great movie | Content
| A Classic from thwe 80's, the best song of the 80's by far.
The movie seems to be a bit far from romantic or comedy, its sort of a hero playing movie, but let's get it straight, an 80's hero, which is very different from a XXI hero....
great movie, great songs, great sound... |
| Rating | | | Date | April 02, 2005 | | Summary | They're going nowhere but they 're going nowhere fast | Content
| You and me, we're goin' nowhere slowly
And we gotta get away from the past
There's nothin' wrong with goin' nowhere, baby
But we should be goin' nowhere fast
It's so much better goin' nowhere fast
Jim Steinman bookends "Streets of Fire" with a couple of his operatic rock epics that make it clear he does not need Meatloaf or even Bonnie Tyler to make his songs sound great (Laurie Sargent and Holly Sherwood get the honors respectively) and director William Hill tries to get us from the big opening to the grand finale by telling a story about a guy trying to get his girl back with a little help from his friends. Ry Cooder provides the rock pulse in the middle aided and abetted by the Beaters and their raucous "One Bad Stud." There is no doubt that the soundtrack fuels this 1984 rock & roll fable that has achieved cult status with its fans, of whom I would clearly be one.
This is a biker movie where Fifties sensibilities are dressed up with a touch of haute couture, Studebakers are the king of the road, the elevated train tracks dominate the city streets, and do-wop groups do the Moonwalk. Ellen Aim (Diane Lane) and the Attackers are doing a big concert back home when the Bombers show up and kidnap the singer at the order of their leader, Raven Shaddock (Willem Dafoe). So Reva (Deborah Van Valkenburgh) who runs the local diner wires her kid brother, Tom Cody (Michael Paré), an ex-solider and Ellen's ex-flame to come home and put things to rights. He walks into the diner and the arrival of a gang of young punks gives him an immediate opportunity to demonstrate that even though he has skinny arms Tom can take care of business (plus he is way cool, as demonstrated by his giving the first punk a second opportunity to try and get his switchblade act together). He also gets a nice fire engine red convertible in return.
Of course, not even Tom Cody can take the Bombers on all by himself, so along for the fun is McCoy (Amy Madigan), another ex-soldier who gets to do the driving and Billy Fish (Rick Moranis), who is not only Ellen's manager but her (for lack of a better word) current boyfriend. Billy has a mouth on him and while Tom never slaps him down McCoy has some fun egging him on about Tom being Ellen's old flame. But getting Ellen out of the Battery is only part of the job, because Tom has to get her back home and you know there is going to be a show down between Raven and Tom (but you probably be surprised by Raven's choice of weapons).
The movie is something of a let down after the credits end, especially since the film editors do some nice wipes and freeze frames that make for a memorable title credits. That comes back for the bit set to Steve Nick's "Sorcerer" (also sung by Sargent), but the opening number "Goin' Nowhere Fast" gets you hooked and it is not until "Tonight Is What It Means to Be Young" at the end that there is that much energy on the screen. I suppose it would have been exhausting to have twice as many Steinman numbers in this film, but this is a musical where the performer needs to be on stage to sing, which is underscored by the music video on the television sets in the bar that allows Ellen to sing a third song.
There is also a problem because the chemistry between Tom and Ellen is pretty sedate. I know what I see in Ellen Aim because I had a crush on Diane Lane when she was in "A Little Romance" and in this film she is grown up enough from being on the cover of "Time" that such thoughts are no longer bad things (By the time she was nominated for an Oscar for "Unfaithful" she could not be more grown up as far as I am concerned, although her Stella in the Baldwin-Lange version of "Streetcar" was pretty good too). But whatever Tom say in Ellen is pretty much buried in the past. Her emotional high point is when she runs to him in the pouring rain, while his is the long last look he gives her at the end. As Ellen sings in "Sorcerer," they are just a "man and woman on a star street in the middle of a snow dream" (go ahead, try and prove something that metaphorical does not hold true).
Still it proves impossible for me not to just go along for the ride. After all, a boy can be the next best thing to an angel and Ellen might not be an angle but at least she's a girl and I've got a dream that when the darkness is over they'll be lyin' in the rings of the sun, but these lovers are star crossed not star kissed. But, hey, it's all we've really got tonight and when I start treating Steinman's overblown lyrics like a Shakespearean sonnet you know I have no choice in the end but to round up on this one even though the DVD does not include the memorable music videos that were released separately on video way back when.
Let the revels begins
Let the fire be started
We're dancing for the desparate and the brokenhearted
Tonight is what it means to be young
Before you know it, it's gone
Say a prayer in the darkness for the magic of love
No matter what it seems
Tonight is what it means to be young |
| Rating | | | Date | February 21, 2005 | | Summary | Posterized view of an action film | Content
| Take an action movie, with the usual brooding good guy, turn up the colors so that the whole thing has a bit of a cartoonish edge. Add some better than expected performances, such a Willem Dafoe bad guy that is just short of way over the top, and you have a movie deserved way more attention than it got. Michael Pare did probably his best job of his usual taciturn, almost antisocial, hero. (He always does that, and I haven't exactly figured out why- seen on interview shows he comes across as much more alive and engaging) Diana Lane projects an incredible image as Ellen Aim, making one wonder what happened to her for the period of years she seemed to just not be around.
Set in an indetrminate year, implied to be late 50's but with some music more suited to it's 80's time frame, and the classic (although unstated) Vietnam vet hero, it's a movie that fits a saturday night friends movie night at the house. |
| Rating | | | Date | September 27, 2004 | | Summary | A Cheeseball Classic! | Content
| It's basically all been said already in some previous reviews, but the flick is absolutely some kind of a low-rent classic. Great casting, from the two iconically handsome/beautiful leads, to all the quirky secondary character parts. Michael Pare's acting abilities are comparable to a stone statue's, but WHAT a sculpture! Diane Lane, a much better actor of course, was physically at her Perfect Moment during the making of the film. Loved the timeless, "What the hell era are we in?" look of the movie. The music I thought was a mixed bag, with great stuff by Ry Cooder & The Blasters, & typically mediocre stuff from Meatloaf's arranger (name?). One hilarious flub: Tom Cody's sister is supposedly typing a plea for his help during the opening credits & the hands doing the typing are huge, hairy, obviously-male hamhands! LOL! |
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