Luis Figueroa Caunedo’s review published on Letterboxd:
I love me some playing w B&W and color for more then just NO REASON. The following are some notes I took throughout my watch. Really interesting to see how Coppola’s main points of focus In his films after the 70s take a huge shift away from big stories in big scales to small stories exploring the inner consciousness in a larger way. Too many truly original and impactful scenes. I can’t decide between 9 or 10 rating because I think I felt a bit unattached because of how I watched it. It was on my tv screen but something made me feel distant, whether it was the sound or the captions, idk, but i feel it was something technical. It’ll probably go up to a 10/10 the more I give time to think about it in the next week or so. In other words, I want to say it’s perfect, but something physically inside me is holding me back from it. And as far as I can tell, I can’t specify what it may be. What it COULD BE lacking, although it doesn’t feel it’s lacking anything.
-Dutch angles introduce us to rusty’s hostility, teenage ferventness and delinquency , Smokey’s inner panic highlighted in the double focused closeup in the opening scene sucked me into the film immediately.
-xylophone centered score plants tension from the start, as if every beat is exponentially leading to a dreadful something approaching. Adds a sense of a personality to a somewhat straightforward film
-I love the unique framing, whether it’s the shot type or subject placement, cinematography is always unique, director and shooter clearly worked extremely closely as camera placement to the blocking is quite intricate for a film w as many locations and movements as this. and B&W really is an actor’s best color. So unfiltered and focused on emotion.
-Sound design makes it all feel so ethereal, much more inside the characters guts and emotions then I’ve seen in a Coming of age movie like this.
-at times the consistent use of high-angle shots made me feel as if I was a fly on the wall, elevating the actors’ performances for the sake of having a fixed perspective, unbiased to the state of a character.
-Matt Dillon is not even performing here, he is simply not Matt Dillon. A masterful approach at a child in the state he’s in.
-Love how in your face the Saturday Night Fever fashion culture is present in Rusty’s social group, it felt like looking at one of my dads high school yearbooks
-Steve’s character is a physical representation of the minimal redeemable traits of Rusty-James. If he didn’t exist, I’m not sure I’d do more then solely pity him. Because of his dedication to keeping Steve around, he’s a little less of a “bum” and more of a good kid.
-i see very clear inspiration from 400 blows and possibly death of a salesmen.
-Stories like Rumble Fish showcase their truth by exploring the fantasies of them, which in themselves are truer then the truth. Much like first reformed, Mishima a Life in Four Chapters, FFC’s capturing of Tulsa, Oklahoma makes the arguably empty, boring town out as a little beautiful and horrible world of it’s own. Seriously, how does one make feel a town as plain as that feel as vast and complicated as LA in Blade Runner? Very impressive.
Rumble Fish: C L OC K S