Set against the urban jungle of 1963 New York's gangland subculture, this coming of age teenage movie is set around the Italian gang the Wanderers. Slight comedy, slight High School angst ...
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In the near future, a charismatic leader summons the street gangs of New York City in a bid to take it over. When he is killed, The Warriors are falsely blamed and now must fight their way home while every other gang is hunting them down.
In 1896, three whalers are stranded in the Arctic North Canada and seek refuge with an Eskimo tribe. Gradually, they gain control with the Eskimo village and introduce gambling, booze, ... See full summary »
Louis Gossett Jr.
This is a very informative documentary that features many interviews and other footage of the cast and crew for the film American Graffiti (1973). Any true fan of the film should be ... See full summary »
Francis Ford Coppola,
Set against the urban jungle of 1963 New York's gangland subculture, this coming of age teenage movie is set around the Italian gang the Wanderers. Slight comedy, slight High School angst and every bit entertaining with its classic 1950's Rock n' Roll soundtrack such as "Walk Like a Man", "Big Girls Don't Cry" by The Four Seasons and "My Boyfriend's Back" by The Angels. Focusing around a football game where the different gangs play with and against each other, then at its grand finale, come together in a mass of union to defend their honour and their turf. Nostalgic stuff and above all a Rock n' Roll retrospective on a grand musical era. Timeless.Written by
The "elbow-tit" scene, where Ken Wahl first meets Karen Allen, was shot on Lydig Avenue, one block south of Pelham Parkway, outside of the actual Wanderers' turf, which ranged from Allerton to Burke Avenues. See more »
In a classroom scene, Mr. Sharp writes on the blackboard "all men are created equal." He asks the class "who wrote that?" The class jokes "you did." Then Sharp says it was 'A. Lincoln'. It was written by Thomas Jefferson in the Declaration of Independence. See more »
[Chubby knows that the out of town bowlers are hustlers, but is playing along]
C'mon, you guys gonna play or not? Let's cut the bullshit. Wanna keep score, too? Go ahead. I'm just a dumb guinea. What do I know? For all I know, you guys could be pros.
Hey, wh-what are you guys talking about?
You guys are real good, is what we're talking about.
[saunters up to the hustlers with a menacing look]
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One of the greatest scenes ever put on film is in this movie: Ken Wahl, about to get married, facing the transition between youth and responsibility, peers through a window at the action at Gerdes' Folk City in Greenwich Village, where, he dimly senses, there's a whole new world beyond his comprehension...it's pure gold, like most everything in this movie. I don't recall rock'n'roll songs ever being put to better or more appropriate use in a sound track. I don't recall a movie ever shifting more seamlessly, effortlessly, from gritty naturalism to bizarro impressionism and back. The cast is great! Whatever happened to some of these actors? There really was a Fordham Baldies, and I grew up not far from the old Alexander's in the Bronx, so I can't pretend to objectivity. For me, this is rather like a New York version of American Graffiti; it creates a world that I feel at home in, even if I never was a gang member and we left the Bronx when I was eight. By the way, the adaptation from Richard Price's book is, I think, remarkable. The book is a series of thematically linked stories that become a single organic story in the film. And I can't blame Ken Wahl--or his character--from being besotted by Karen Allen. Personally, I'd have gone right into Gerdes and flung myself at her feet. Oh yeah, the late Dolph Sweet is superb here.
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