Why is this movie so appealing?
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krichadams — 13 years ago(May 05, 2012 02:18 PM)
The simplest answer is that it was one of those movies that captured the moment of the times when it came out. I was in my 20s back in the mid 1980s. The clubs had mostly either the spandex, neon colors, spiked hair, Prince's "Purple Rain" look. Or a mixed/updated/leather/punk 1950s look. Mainly depended which club you hung around. I first saw the movie on this new-fangled pay channel called "H-B-O," and watch it every time it comes on to bring back the memories1
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moviefanatics81 — 13 years ago(May 08, 2012 01:10 AM)
Because it's a unique movie that makes you wonder what time period it's set in. The beginning says that it happens in another time and another place.
Michael Pare, Diane Lane, Willem Dafoe, Amy Madigan, and Rick Moranis were convincing in their roles.
Although Diane Lane was lip syncing, she put so much emotion in the music performances.
I like how the dancer named Marin (who did most of the dancing in "Flashdance") got to do a brief dance during the club scene.
The first and last songs were my favorite ones on this soundtrack. I also love "I Can Dream About You." The first song "Going Nowhere Fast" was the song that my favorite aerobics instructor would sometimes play. -
vimhawk — 13 years ago(June 23, 2012 08:14 AM)
I saw this again for the first time in ages a couple of days ago. When I analyse the components of this film, most of them are unconvincing. The strange 'out of time' setting is just that, strange, the performances are adequate, a lot of the dialogue is very poor but then I realise that the clich "greater than the sum of its parts" has probably never been better used. It's just a really good, fun, entertaining film. What more could you want?
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mojo2004 — 13 years ago(July 11, 2012 04:11 PM)
The soundtrack. Like others I bought the film on VHS, I bought the soundtrack on cassette, then CD, now I want the film on DVD. I remember the big deal they made about this movie when it came out. I thought it would do better at the box office but I'll always love it because of the great music. the wonderful sets and costumes. Along with a diverse casts. I had a video copy of the interviews some of the cast did while making the film. The McCoy character was supposed to be male but Amy Madigan asks if she could audition for it and Walter Hill let her. I think that change made the film better.
Just for the record, I'm not a Dude, I'm a Dudette! -
DarkHawke — 13 years ago(March 27, 2013 10:57 PM)
I agree with the general tenor of the replies: though it wasn't as deep a coming-of-age movie as The Breakfast Club, a notable contemporary, it still hits deep with we who were coming of age at that time. It's been years since I've seen it, but the soundtrack is effin' EPIC, though a number of the tunes owe their style to earlier eras. The look is timeless as well. Very 1950s, but they don't hit you over the head with it, some of the music is very '80s, and the dark, moody atmosphere keeps it from being pigeon-holed to one time or another. As the tagline says, it's a rock 'n roll fable, so it works like that, but it does owe some of its structure to classic westerns. Lots of bits and pieces to it, but it was very well assembled by folks who cared enough to make it great. A cult classic, to be sure, but with great emphasis on "classic!"
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drdsgolf — 12 years ago(April 09, 2013 02:16 PM)
I saw this movie when it came out in 1984 and just loved it. It never got much recognition, probably because the script and acting are weak. Poor Michael Pare is such a stiff. But here I am 29 years later watching it again and sending copies to some of my younger family members. The story is just goofy as are Moranis and Pare, but Diane Lane is unbelievable looking and a young Willem Dafoe is just an awesome bad buy. The music is superb. The final number, Tonight Is What It Means To Be Young is an incredibly powerful and joyful piece. It is indeed a cult classic for me and today's young people would really enjoy it if they get a chance to see it.
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greg-goremykin — 12 years ago(March 07, 2014 07:48 AM)
I saw this movie when I was fourteen at a late showing on a Friday night. I still remember walking out of the theatre, it had been raining all day and finally stopped, there was a full moon out and the streets had that black glistening sheen to them after a long spell of rain with the light reflecting off. It felt like I was still in that world that Streets of Fire created for me for a minute or two.
Being the age I was, the film re-enforced all my youthful imaginations on what romance meant, the power of music in a person's life, what manhood meant, all very fantastical but it had such a powerful effect, evoked such powerful emotionsI was completed engrossed the whole way through the way I would be by a good music video at the time. My "suspension of disbelief" was complete.
The music played a huge role for me as well, I was too young to have had much exposure to any of Steinman's music before other than Total Eclipse of the Heart, so those booming Wagnerian anthems touched and stroked a flame of youthful rebellion and an optimism and innocence that a person only has at that tender age of idealized love, romance, heroism, etc. At 44, I still get that same old stirring watching this filmit let's me remember thirty years on what it was to be young, and it's a helluva nice place to go back and visit after having thirty years of the realities of life disillusion those youthful ideals we all once had.
I've introduced the movie to people over the years who never saw it when they were young, and they think it's terrible. Maybe this is one of those that you had to experience when you still had a bright-eyed optimism to really be a fan of; if at first exposure you are already too jaded by life, it won't connect with you the way it has with so many dreamers; ; it was like an old western if written by the Grimm Brother's in some alternate Rock 'n' Roll reality where the men were men, the women were women, and you settled your problems with sledge hammers and kissing. Ah, to be 14 again.