"There's one queasy moment as Rebel approaches the finish line where Jim's parents look at each other and finally laugh, as though burying the hatchet. This is the film’s only cop-out. It is a bone thrown to the conformity-ridden culture, to the worry-wart adults out there, saying, 'Hey, guys, you're not so bad after all, ya big lunks, we forgive you, we know you’re doing your best in a crazy world.'" This is analogous to the obligatory moment in all the cheapo 1950s rock'n'roll movies where we saw the grown-ups at the high school hop start to tap their feet to band, as if to say, "These kids and their wacky music - they're not so bad after all."
One historical irony, re: Lester Bangs comment about "How Much Is That Doggy in the Window?" It's actually an old sailor's song about prostitutes: "How much is that doggy in the window?/The one with the waggily tail/How much is that doggy in the window?/I do hope that doggy's for sale." Once you know the real subject, the lyrics are pretty unambiguous. So it's ironic that in such a sexually repressed decade, one in which this song in particular serves as a definitive example of that repression, the song itself is in fact about sexual decadence. (I count at least three #1 hits that are about prostitution: this one, "The House of the Rising Sun" and "Lady Marmalade." Funny how a culture founded in part by Puritans seems to feel the need to return to this topic from time to time.)
I do know the history of that song, but Lester Bangs' observation still stands - the song as a standin for the larger culture of conformity at least in terms of pop music and popular entertainment - particularly in that decade when teens were on the rise in all their unruly glory (which can be seen in stark fashion if you watch the entirety of Elvis' first appearance on the Ed Sullivan Show. It's WILD, the contrast. He legit looks like an alien.)
Rebel can't quite condemn the parents - there's an attempt to right the toppled apple cart - but ... the damage is done. You can't forget what was revealed during the course of the movie. That tension is part of the film - I think it's perfect, because the moment really expresses the generation-gap anxiety in such a clear way.
The Outsiders is definitely in that realm - it also has this crazy overblown style - it's NOT kitchen sink realism at ALL. Douglas Sirk for teenagers.
you know I should have written more about the title. I kind of take the title for granted - but it really is an attention-getting title isn't it. Very existential.
"There's one queasy moment as Rebel approaches the finish line where Jim's parents look at each other and finally laugh, as though burying the hatchet. This is the film’s only cop-out. It is a bone thrown to the conformity-ridden culture, to the worry-wart adults out there, saying, 'Hey, guys, you're not so bad after all, ya big lunks, we forgive you, we know you’re doing your best in a crazy world.'" This is analogous to the obligatory moment in all the cheapo 1950s rock'n'roll movies where we saw the grown-ups at the high school hop start to tap their feet to band, as if to say, "These kids and their wacky music - they're not so bad after all."
One historical irony, re: Lester Bangs comment about "How Much Is That Doggy in the Window?" It's actually an old sailor's song about prostitutes: "How much is that doggy in the window?/The one with the waggily tail/How much is that doggy in the window?/I do hope that doggy's for sale." Once you know the real subject, the lyrics are pretty unambiguous. So it's ironic that in such a sexually repressed decade, one in which this song in particular serves as a definitive example of that repression, the song itself is in fact about sexual decadence. (I count at least three #1 hits that are about prostitution: this one, "The House of the Rising Sun" and "Lady Marmalade." Funny how a culture founded in part by Puritans seems to feel the need to return to this topic from time to time.)
and thanks for reading!
I do know the history of that song, but Lester Bangs' observation still stands - the song as a standin for the larger culture of conformity at least in terms of pop music and popular entertainment - particularly in that decade when teens were on the rise in all their unruly glory (which can be seen in stark fashion if you watch the entirety of Elvis' first appearance on the Ed Sullivan Show. It's WILD, the contrast. He legit looks like an alien.)
Rebel can't quite condemn the parents - there's an attempt to right the toppled apple cart - but ... the damage is done. You can't forget what was revealed during the course of the movie. That tension is part of the film - I think it's perfect, because the moment really expresses the generation-gap anxiety in such a clear way.
Thank you...
https://thenobbyworks.blogspot.com/2023/02/me-and-my-james-dean-memorial-stamp.html
The Outsiders is definitely in that realm - it also has this crazy overblown style - it's NOT kitchen sink realism at ALL. Douglas Sirk for teenagers.
you know I should have written more about the title. I kind of take the title for granted - but it really is an attention-getting title isn't it. Very existential.