Lou is a small time gangster, who thinks he used to be something big. He meets up with a younger girl, Sally, who is learning to be a croupier. Her husband turns up with drugs he has stolen... See full summary »
When two poor greasers, Johnny, and Ponyboy are assaulted by a vicious gang, the socs, and Johnny kills one of the attackers, tension begins to mount between the two rival gangs, setting off a turbulent chain of events.
Francis Ford Coppola
C. Thomas Howell,
This movie is a stark portrayal of life among a group of heroin addicts who hang out in "Needle Park" in New York City. Played against this setting is a low-key love story between Bobby, a ... See full summary »
Set in 1960, the film centres on the young, boyishly handsome Yuddy, who learns from the drunken ex-prostitute who raised him that she is not his real mother. Hoping to hold onto him, she ... See full summary »
In an open-air dance hall, the members of Leca's gang are relaxing with their ladies. One of them, Marie, aka "Casque d'Or" (Golden Helmet) meets Manda, a carpenter. Her man Roland belongs ... See full summary »
Lou is a small time gangster, who thinks he used to be something big. He meets up with a younger girl, Sally, who is learning to be a croupier. Her husband turns up with drugs he has stolen from the Mafia. The husband gets Lou to sell the drugs, but is killed before Lou can give him the money. Later, the owners of the drugs turn up and threaten to kill Sally if she doesn't return them... Written by
Colin Tinto <email@example.com>
A French-Canadian production company gave director Louis Malle money to make a film under the stipulation that he use the money within an allotted period of time or he'd have to give it back. With time running out and not entirely happy with the one script that stood out from the ones he took under consideration, Malle's then-girlfriend Susan Sarandon introduced him to a good friend of hers, John Guare, a playwright ("House of Blue Leaves", "Six Degrees of Separation", and "Four Baboons Adoring the Sun" among others). Over dinner, Malle and Sarandon (who was attached to star) discussed the problems they had with the script and offered suggestions as to how Guare could possibly fix it so they could beat the pending deadline and start filming. Guare quickly reworked the script (it was his idea to set the film in Atlantic City) and filming got underway within a few months of the trio's initial meeting. See more »
Before she goes to lunch with Lou, Sally cuts her hand at the oyster bar (drawing blood). But at lunch (and afterward), Sally's hand is unbandaged and healthy. (There's even a close-up of her hands when she examines Lou's cigarette case.) See more »
Yes, it used to be beautiful - what with the rackets, whoring, guns.
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As the end credits roll, an old building on the boardwalk is demolished to some of the tunes that appear earlier in the film. Each time the wrecking ball hits, we hear a cymbal crash and the soundtrack jumps to a different song. See more »
The setting and the characters are just right for each other. Atlantic City is undergoing a transformation, with new casinos and hotels dotting its shoreline while a few blocks in, out of the tourists sight, the full time residents live in what's left over from the past. Louis Malle captures it all with this story about a retired small time member of the local organized crime syndicate (Burt Lancaster) who comes into a small fortune worth of stolen cocaine when the guy that stole it (Robert Joy) is killed by the dealers who meant to buy it in the first place down in Philadelphia, and are now hot on his heels as well. Back in the life, though unwittingly, he sells the coke to an ongoing poker game in one of the suites in a new hotel, bit by bit, and falls into the romance of his dreams with young Susan Sarandon, whom he watched every night from his hotel room as she bathed her breasts with lemon juice in her room across the way. Like the refurbishing city its set in, he feels rejuvenated and in one instance even fearless in the face of the ruthless Philly dealers. The film put Lancaster back in the limelight for a while, and refreshingly so. Its gritty realism and characters, especially Joy, who makes an excellent hippie con-man, marked the end of an era of that realistic 70's urban crime drama genre that deftly mixed romance with drugs and violence, and portrayed the underworld, mostly minus the cops, so well.
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