This documentary, which was undertaken soon after James Dean's death, looks at Dean's life through the use of still photographs with narration, and interviews with many of the people ... See full summary »
May is waiting for her boyfriend in a run-down American motel, when an old flame turns up and threatens to undermine her efforts and drag her back into the life that she was running away from. The situation soon turns complicated.
Harry Dean Stanton
Scotty White (age 19) must stop 'going steady' with Janice Wilson (age 16) when Janice's parents intervene. Frustrated, idle and without Janice's restraining influence, Scotty encounters Cholly and his band of disorganized, fun-loving delinquents. Soon he has Janice (who seems considerably the more mature of the two) mixed up in their doings, which begin to seem less and less like harmless fun... Written by
Rod Crawford <email@example.com>
About the 13:30 mark, when Scotty (Tom Laughlin) is being invited out of Janice's house by her dad, the front door (interior) is a beautiful leaded glass number. As he walks away from the house (exterior) the door is solid. Not Glass. See more »
This is one story. Who's to blame? The answers are not easy, nor are they pleasant. We are all responsible, and it's our responsibility not to look the other way. Violence and immorality like this must be controlled, channeled. Citizens everywhere must work against delinquency, just as they work against cancer, cerebral palsy, or any other crippling disease. For delinquency is a disease. But the remedies are available: patience, compassion, understanding, and respect for parental ...
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A frustrated young man, separated from his younger girlfriend, gets involved in a juvenile gang.
Robert Altman wrote, produced, and directed this film in his hometown of Kansas City, Missouri during the summer of 1956 on a $63,000 budget raised by local theater owner Elmer Rhoden. He was hoping to cash in on the juvenile craze that American International Pictures made popular with films such as "Hot Rod Girl" (1956) and " Shake, Rattle & Rock!" (1956). Indeed, the film is very much in the AIP style and could pass for one of their productions.
As summed up by Altman, "I wrote the thing in five days, cast it, picked the locations, drove the generator truck, got the people together, took no money, and we just did it, that's all." Shooting was a bit of a pain, with Altman in constant disagreement with star Tom Laughlin (a Milwaukee native who went on to be known for the "Billy Jack" film series).
Cameraman Charles Paddock, on Altman's advice, imitated the lighting of "The Asphalt Jungle" (1950). This is probably why the film looks more professional than it actually was. Despite anything it might lack, the photography is smart and sharp.
United Artists bought the film for $150,000, earning it a quick profit before even hitting theaters. Altman maintained for years (at least up to 2001) that he did not care for the film, but Alfred Hitchcock of all people did and got Altman hired on for "Alfred Hitchcock Presents". Success! Rhoden produced one more film in Kansas City -- AIP's "The Cool and the Crazy" (1958) -- and was even featured in Time magazine as one of the "new wave" of producers. He then produced a delinquency film in Hollywood featuring the debut of composer John Williams, AIP's "Daddy-O" (1958), but his mini-mogul reign was short-lived.
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