” The Warriors” is a real oddity, a movie about street organization war, written and guided as an exercise in idiosyncrasy. There’s hardly a few moments where reference is is argued that the movie’s organizations are real or that their members are real people or that they occupy a real metropolitan.
That’s where the oddity comes in: I don’t think we’re supposed to. No matter what impression the ads return, this isn’t even remotely intended as an act movie. It’s a set piece. It’s a ballet of stylized male violence.
Walter Hill, the administrator and co-writer, specialized in myths like this. His first two movies were” Hard time” and” The motorist ,” and they were both at arm’s length from reality. Hill likes people that take on a acclaimed, mythic stature, and then he likes to run them through situations that look like city tableaux.
” Hard duration ,” a good and curious movie, performed Charles Bronson as a professional street fist-fighter who proceeded up against adversaries with all the dimension of a James Bond villain.” The Driver” didn’t even have calls for its people; they were described by their functions, and they reacted toward each other in strangely formal, rehearsed, unspontaneous ways.
” The Warriors” makes that form to such situations of extreme that almost all life and liquid are drained from it; there’s great vigor and vigor( and choreography and stunt coordination) in the many vicious scenes of gang fights and run-ins with the cops. But when the specific characteristics talk, they seem to be inhabiting a anecdote rehearsed many times before.
One example: Three members of a street organization are lined up in a row. The camera regards the first one. He addresses. The camera washes to the second, and he addresses. The camera washes to the third. He addresses. Because the movement of the camera dictates the ordering and timing of the discussions, there can be no illusion that the characters are talking as their messages occur to them. http://theflash-season3.com
This same kind of potent stylization reigns the movie. The street organizations make postures toward each other as though it were chassis in a medieval periodical. The deployment of the police and organization makes is frankly inconceivable on any realistic height; people move into their figurative arranges with such perfectly aged choreography that they must be telepathic. And the pursue scenes are patently inconceivable, as in one increased shot proving the Fighter overtaking a competitive gang’s academy bus.
All of this is no doubt Walter Hill’s intention. I expect he has, an artistic see he’s working toward in this film, and in his labor. He chooses to meticulously ban human spontaneity from his movies; he countenances exclusively a handful of shallow maids people into his stories; he shortens male behaviour to ritualized violence. And in” The Warriors” he espouses, with a few exceptions, to shed against sort: Only three or four of the movie’s people ogle and sound like probable street-gang members. The residue sound and sound like male mannequins for the currently fashionable ad photography mixing high fashion and rough trade. besthoverboard-reviews
All very well, I expect, except that Paramount chooses to advertise the movie as a vicious act video — and act audiences, I suspect, will find it either incomprehensible or laughable. Walter Hill has a considerable visual science, and he knows what he’s doing in” The Warriors” and does it well. But is this form suited to this material? And does Hill have other notes to play? All three of his movies have shown a certain skittishness in the face of human juices and the unrehearsed spurt of life. And so his street organizations, and his movies, walk lockstep through infertile streets.