Violence is not a good way to solve problems. People get hurt and fighting often leads to unexpected consequences, as when several larger and older Socs are beating Ponyboy but the fight ends with one of them dying after being stabbed by johnny. Life is better when you have friends and when you are a good friend. Appearance is often different from reality. For example, strength in a human being doesn't come from the outward show like that put on by dally. It can be found even in those that appear meek, like johnny. The Greasers are shown to be more genuine people with better friendships than the socs. Some of the Greasers were, in many ways, innocent children who took on the trappings of tough guys.
The outsiders, reviews - metacritic
Killing people in the line of duty is stressful for most police officers. When the person killed manipulates the police officer into becoming an agent of suicide, there is additional stress on the officer. For more on this phenomenon, see. Suicide by cop: Victims on Both Sides of the badge ; Police essay Use of deadly force: Victim Precipitated Homicide ; and, suicide by cop: There's almost always police stress as a result. Advertisement, discussion questions:. This story has several important themes. Identify two major themes of the story. Cherish the impermanent "gold that is, value the innocence of youth and its wonder at the beauty of the world. Rigid divisions among people based on class, gang affiliation, or ethnic, or religious groupings are harmful because they interfere with friendships and relationships that would normally develop if people were free to choose their friends, lovers, and associates on their own. The divisions between the Greasers and the socs, like any imposed divisions between most cliques of kids and most established groups in society, are artificial and based on circumstances of birth and random events of life. Socs, like greasers, have sorrows, problems, difficulties in coming of age, dreams for the future, etc.
Dallas is like the presentation popular kid in school, perfect in one environment, but unable to adapt to the outside world. If only he could have taken his positive attributes and applied them elsewhere he could have stayed gold and prospered. My sixth-form school report said: "Kaleem wants to conform to the high academic standards expected of him, but also to be a bit of a rebel. I hope the tension between these two sides of his character remain on the whole constructive." Without Dillon/Dallas I would not be writing this today. Using, the outsiders, in the classroom, before watching the movie or reading the book: have students read and memorize robert Frost's short poem. Nothing Gold Can Stay. Tell them that Frost noticed that the first growth of plants after the harsh New England winter is often golden in color but quickly turns to green. Have students analyze the poem using techniques with which they may be familiar such as "say, mean, matter.". After reading the book or Watching the movie: Talk to the class about police assisted suicide, also known as "suicide by cop." This occurs when a person intentionally provokes a law enforcement officer into killing him or her.
He turns up at the appointed hour to help his friends. He drives a cool car, showing his desire to climb the social ladder. He's fearless, leaving his hospital bed because "there ain't no rumble without me". I understood the code that Dallas lived. I understood the code that Dallas lived reviews by: For him it barbing was the Greasers; for me the ummah, the muslim community. Honour and fearlessness were lessons drilled into me at home. Yes, he self-destructs when Johnny's heroism ends in his death, but that's because dallas can't cope with how unfair society. His gut reaction is born of love. But even here, i saw lessons.
Dallas is streetwise, too. When Johnny and Ponyboy get involved in a murder rap it's to dallas they turn. And look where he lives. Above a bar: Tom waits answers his door. Dallas walks around shirtless. As he does so, a young woman in the bar swoons. He relays brilliant instructions about a hideaway. In the right circumstances he's the wisest man in the world. He's also a man of his word.
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A few years older than I was, dillon was successful and good-looking the epitome of cool. More crucially, his acting success was garnered in roles in which he played the underdog. Only dillon could have made dallas a hero. Perhaps it's no surprise that my desire to acculturate led me to see a hero in a white character. Dallas wears cool clothes. He wants to do "nothing legal" and, prophetically to my life at least, he just wants to go see a movie, not caring which. Revisit the scene when Dallas meets Cherry at a drive-in.
This isn't a boy failing to pick up a girl. I saw a working-class kid refusing to be overawed by money and social class. There is a brash self-confidence. The pick-up lines may be crude, but he wants to level the field. Contrast this to the moment where fellow Greaser Two-bit throws away rich-kid Marcia's phone number online because girls like her would never date someone like him. Watching Dallas, even as he fails to woo cherry, i saw that the seemingly out-of-reach was obtainable. He only has respect for himself, not for the rules.
Dallas bullies the local Tulsa kids. The beautiful Sherri "Cherry" Valance, played by diane lane, complains after she throws a drink in his face following some crude pick-up lines, saying: "he scared me to death". He's just out of jail and already fighting. When he does good deeds, it's reluctant. Yes, he helps to save some children in a church fire, but it's because he wants to protect his friends rather than any altruism. When Johnny dies, he can't control his grief and robs a store.
His death seems inevitable. His is a cautionary tale; he is a loose cannon deserving of Sodapop's dismissal. The outsiders c thomas Howell, matt Dillon, ralph Macchio. Well that's the usual reading of the character. But in my eyes, matt Dillon offered the keys to gaining acceptance in mainstream western culture. The original cinema-release version opens with Dallas standing on a street corner. I knew, watching him then, that my life was about to change. I'm in awe of Dallas before he opens his mouth: that's because he's played by dillon, who in 1983 was the biggest name in a cast that included Rob Lowe, tom Cruise and, patrick Swayze.
Cineweekly: The outsiders movie review
Dillon played Dallas Winston, a greaser, whose enemies are the southside soc, kids with money. Dallas was from the wrong side of the tracks. For most people, dallas would be an odd choice for role model. Even his proposal friends use his name as a warning. In the "Complete novel" version of the film released in 2005 (and now, sadly, the only version available on dvd sodapop Curtis's last word on Dallas is to counsel his younger brother, ponyboy, "When you ain't got nothing, you end up like dally, i don't. I'm glad that those words by sodapop (Rob Lowe) were not in the cinema version released in 1983 that I grew up with and watched more than 100 times by the time i was. Because i would have been disgusted with thisdamnation of Dallas. Director, plan francis Ford Coppola tries to make dallas look like a jerk.
Diane lane, seemingly the most sensible of the kids, may be the most gorgeous redhead in films since the days of Rita hayworth and Susan hayward. Picture was filmed on location around Tulsa, although cinematography by dean tavoularis has a soundstage look and doesn't necessarily convey either Oklahoma or the story's time setting of 1966. If Coppola wanted it "timeless it nevertheless robs much of the story of any potential grit. Music by carmine coppola adds a symphonic touch, another oddity in a film that seems essay to shift gears much too often for its own impact. Box-office waves, if any, will be as interesting to contemplate as the idea of how. The outsiders might have played if put on the screen by talents closer in age to the subjects they're x-raying. . Robert Osborne, originally published on March 23, 1983. As a muslim growing up in an asbestos-ridden council estate in Fulham, south-west London, seeing all the posh houses from our third-floor balcony, heroes were hard to find. Matt Dillon in The outsiders.
have something deeper in mind, it doesn't read here. It is to the film's credit (and Coppola's) that, despite the continual false notes, The outsiders is consistently interesting to watch. Besides the surface charades, there are many homages to selznick's interpretation. Gone with the wind, including some striking similar vista shots, even opening with a duplication of the panoramic, sweeping. Intended or not, there are also unmistakable memory jogs. West Side Story (1961) and mgm's 1949, the sun Comes Up, wherein Lassie — instead of a greaser — saved the kids in the burning building. Cast is good, with Dillon the most convincing as a rebellious, troubled teenager — he looks it, acts it and conveys the needed danger. Patrick Swayze makes a strong impression as Howell's older brother, although the script has him a brute one minute, a compassionate pal the next and dilutes his possibilities. Macchio and Howell carry the majority of the film and do commendable jobs; most of their peers (Rob Lowe, emilio estevez, tom Cruise, darren Dalton and Garrett) have little to do but add color.
Main thrust of the story, as scratched in the screenplay by kathleen Knutsen Rowell, shows a clash between some town "greasers" (the poor boys) and the "socs" (pronounced "soshes" and meaning the rich kids year with the twain never mixing, even on chance meetings at the. When a meeting does occur, the skirmish ends with "greaser" Ralph Macchio killing "soc" leif Garrett in a fight provoked by garrett. Since folks at home don't care (we're told; we never see adults macchio and pal. Thomas Howell go to gang leader Dillon for help, hitch a short ride on a train and temporarily hide out, spending their time waxing poetic about sunsets and life and reading. Gone with the wind. On the way back to town to turn themselves in to the police, they become heroes by saving some kids in a fire. Macchio is severely burned, the greasers have a rumble with the socs, and Dillon comes to a gloomy end when he freaks out over Macchio, specifically, and life, generally. Despite some good directorial touches and earnest playing by the fresh-faced cast, everything.
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On March 25, 1983, Francis Ford Coppola and Warner Bros. The outsiders adaptation to theaters, featuring a cast that included many rising stars. The hollywood Reporter 's original review is below. Francis Coppola's first directorial effort since, apocalypse now and, one From the heart is a curiously unconvincing excursion into a (supposed) teenager's world, circa 1966, that will need massive support from high schoolers, circa 1983, to pay off in its initial runs. The fact that its lineage somersaults from the. Hinton book that has had wide popularity with youthful readers since it was initially published in 1967 means a plus, as does the participation of first Matt Dillon, the only "name" in the cast and a current favorite with the pubescent crowd. But beyond those assets, there isn't much here to create a box-office stir, and little interest to post-teeners, save those with a curiosity to view anything connected with Coppola's flights into film. The outsiders, the director's touch of class is consistently present, but it may be a case of the wrong man for the job, since overall film plays unevenly, with a cliche and detached ambiance that robs the plotline of what passion it might have whipped.