Rita, a middle aged New York City homemaker, finds herself in an emotional crisis which forces her to re-examine her life, as well as her relationships with her mother, her eye doctor ... See full summary »
Chu Chu Ramirez is a Mexican farm laborer in California, with lofty ideals, who is very proud of his new American citizenship. During his time off, he tries to befriend the alcoholic bar ... See full summary »
When a cute Welsh terrier follows Bill Denny home, little does he know that all gangland has its eye on that dog. Who will be bumbling Bill's undoing - the gangsters, the cops, or his suspicious mother-in-law?
Back home, Glauco, an industrial designer, finds his wife in bed with a serious headache. She has left him dinner but it is cold and Glauco decides to prepare himself a gourmet meal. While ... See full summary »
Rival gangs in a small city are escalating their violence: the Pepper Tree Gang of poor whites and a group from the Mexican section of town have traded an eye for an eye. The Mexican gang, led by Danny, is having a dance that night at their new club; the police think the Pepper Tree Gang will show up to fight. A lieutenant asks Danny to agree to a truce, and Danny takes a walk to think about it - going over the last nine years of his life in an angry world that's made him feel isolated and unloved. He thinks back to a friend's death when they were 10. He has an insight into his past and he goes to the lieutenant. Is there a path out of violence? Written by
The "explosion" effect at the start of the film's credits was achieved by splicing in a few frames of the beginning of a roll of film, which was exposed when loading the camera. Sid Davis and editor Arthur Swerdloff followed that with a cut to a second palm tree, beside the first, without a top. They placed something near the top of the tree to smoke, making it appear as if the gang boys had blown the top off a palm tree. See more »
Interesting artifact, very much a reflection of its time. During those post-war years, juvenile delinquency grew as a national concern as a teenage sub-culture began to emerge. In urban areas, gang "rumbles" often made headlines as youths clashed with chains, fists, and sometimes, knives, as dramatized in this 30-minute short. These could be seen as "turf' wars or, at times, as racial clashes, but rarelyif I recall the LA area of this short correctly was anyone killed. Note how the solution portrayed here can be described as a "liberal" one that is, by appealing to youths' better instincts, instead of the more traditional reform school path.
However, gangs-- at least in the last 50 years-- have evolved from street-level "clubs" into criminal enterprises, trafficking in drugs, guns, and other illicit activities that are often connected with adult-level prison gangs like the Mexican Mafia or the Aryan Brotherhood. Unlike the 1950's, rivalries are now routinely settled with "drive-by" shootings, at the same time, the bodies pile up in poorer and minority neighborhoods. Younger kids can easily be recruited since gang membership offers both status and the prospect of a money-making future. Just as importantly, liberal solutions, as portrayed in the Davis short, offer little prospect of success, while only those programs addressing the deeper causes of poverty and racism hold much promise.
Nonetheless, this earnest little docu-drama presents an interesting contrast to such sensationalized youth films of the time as Rebel Without a Cause (1955) or The Blackboard Jungle (1955). I am curious, however, where the producers expected the 30-minutes to be shown and to what effect.
4 of 4 people found this review helpful.
Was this review helpful to you?