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Fandango (1985)

 -  Comedy  -  25 January 1985 (USA)
6.6
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Ratings: 6.6/10 from 5,606 users  
Reviews: 101 user | 9 critic

Five college buddies from the University of Texas circa 1971 embark on a final road trip odyssey across the Mexican border before facing up to uncertain futures, in Vietnam and otherwise.

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Cast

Cast overview, first billed only:
...
Gardner Barnes
...
Phil Hicks
...
Kenneth Waggener
...
Dorman
Brian Cesak ...
Lester Griffin
Marvin J. McIntyre ...
Truman Sparks
...
The Girl
...
Trelis
...
Gas Station Mechanic
...
Judy
Robyn Rose ...
Lorna
Stanley Grover ...
Phil's Dad
...
Phil's Mom
...
Heckler #1
Michael Conn ...
Heckler #2
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Storyline

It's 1971 at the University of Texas, Austin. College buddies, facing graduation, marriage, and the draft, skip out of their own graduation party and head to the Mexican border for some adventure, a buried secret, and one last go-around at "the privileges of youth". Written by Scott Butler <sydtech@skypoint.com>

Plot Summary | Add Synopsis

Taglines:

It's the privilege of youth.

Genres:

Comedy

Certificate:

PG | See all certifications »
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Details

Country:

Language:

Release Date:

25 January 1985 (USA)  »

Also Known As:

Breaking Loose  »

Filming Locations:

 »

Box Office

Gross:

$85,000 (USA)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Color:

(Technicolor)

Aspect Ratio:

1.85 : 1
See  »
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Did You Know?

Trivia

Chuck Bush (Dorman), the large, mild-mannered schoolmate, was "discovered" in a 7-11 store. He had no prior experience or connection with the movie industry, prior to being "seen" and asked to "read" for the part. See more »

Goofs

In the first scene when they are making blended drinks in the dorm you can see a container of Citrus Hill concentrated orange juice, the Citrus Hill brand did not come out until 1983. See more »

Quotes

Philip: Texas is really ugly, you know. I mean, what could anyone possibly like about this state?
Dorman: I like the way it's shaped.
See more »

Connections

Referenced in Return to 'Giant' (2003) See more »

Soundtracks

Badge
Written by Eric Clapton and George Harrison
Performed by Cream
Courtesy of PolyGram Special Projects, a Division of PolyGram Records, Inc.
See more »

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User Reviews

 
Ebullient Moptops
3 March 2006 | by (United States) – See all my reviews

Spielberg disowned his involvement in this (read: 'funding')...it's not hard to see why.

-- Spielberg's camera is a lifeless automaton, it simply records stories. His camera has nothing to do with the story itself... Reynolds' camera is self-aware, acknowledged, and is part of the *visual narrative*: an active participant in the art.

-- Spielberg's only concern is telling stories...this has no real 'story'. Nothing 'happens': it's all about a state of mind.

-- Spielberg deliberately tells everything in the manner of a simpleton's comic book, as neatly laid out storyboards that a mental 10-year old can effortlessly digest...Fandango cannot be described in comic book terms; it is based on the indecipherable chalkboard scrawls of a stoner.

Here we meet the Groovers (the Fab Four), plus one inert member (the 'fifth Beatle') who undertake a journey through moviedom, including "Giant", "Ten Commandments", "Badlands", etc. There's no goal -- the 'goal' ends up being a chance to wink at the audience -- other than the journey itself. It's all about living in the moment, the consequences are never encountered. This is everything that "Stand By Me" is and so much more.

It is visually rooted in constructed memories...note the photographs as bookends. Along the way, Reynolds 'constructs' the war with fireworks and tombstones. This is cinematic eloquence.

It is also self-referential; the 'construction' of the wedding banquet is carried out in precisely the same way as the movie itself was made: with a little help from Reynolds' friends.

The capper is the ceremony and reception dance. The dance is a fandango, but the musical platform is not, it is the gifted Metheny's "It's For You". All of the movie's emotions *visually* swirl and coalesce around the song/dance amalgam and eventually resolve within it...this is beyond mere movie soundtracks: this is a magic carpet ride for the soul. For one minute, a world disappears, and another world constructed just for two takes its place -- a entire world of emotion expressed through the physical action of lovers (a dance, a kiss that almost was, a facial expression of realization), instead of through words. Is the construction 'real', or is it the stuff of dreams? Reynolds lets us decide.

It's a shame the boys went on to give us the execrable "Robin Hood" and the pointlessly outsized "Waterworld". But for one brief instant, they got it oh so right.


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