If someone is successful enough in Hollywood, this earns him or her privilege to indulge in making personal dreams a reality. In early 1980s action director Walter Hill had series of big hits in his filmography and decided to make a film very much like the one imagined when he had been been a teenager. The result, 1984 action musical Streets of Fire, proved that someone’s dreams aren’t always the same thing the audience or critics would like to see.
The plot is set in some sort of parallel universe named “another time, another place” in opening title, namely the unnamed city where people wear the same clothes, hairstyles and drive the same cars as in 1950s America, but listen to music clearly belonging to 1980s. One of the greatest stars is singer Ellen Aim (played by Diane Lane) who came to hold benefit concert in her old neighbourhood of Richmond, much to displeasure of her manager and boyfriend Billy Fish (played by Rick Moranis). During the concert she is snatched from stage by Bombers, biker gang led by Raven Shaddock (played by Willem Dafoe). Luckily, one of Ellen’s fans who witnessed the kidnapping is Reva Cody (played by Deborah Van Valkenburgh), diner owner who calls her brother Tom (played by Michael Paré), former professional soldier, for help. Tom used to be Ellen’s boyfriend but he tries to be professional and agrees to rescue her in exchange for financial reward from Billy. He is joined by McCoy (played by Amy Yasbeck), tomboyish former female soldier, and they go to Battery, city district controlled by Bombers, where Ellen is held in gang’s headquarters.
This film was often compared with The Warriors, Hill’s earlier and much more successful work, and it isn’t hard to see why. Both films are set during the night and feature stylishly looking protagonists that must take dangerous journey from one part of the city to another. Streets of Fire is, however, less grounded in reality; apart from alternative retrofuturistic universe it is reflected in toned down violence. Hill has invested a lot of creative energy and budget in order to create and maintain specific style, and he mostly succeeded. But he did it at the expense of substance, namely the plot and characters. Those shortcomings are even more apparent due to some less than fortunate casting choices. Paré, dressed in long coat and armed with lever-action rifle, looks like archetypal western hero seamlessly transported into quasi-modern world, but his role is poorly written and he lacks charisma, as well as chemistry with Diane Lane who, in the first major role of her career, does somewhat better job despite lack of singing talent and her voice obviously being dubbed. Dafoe is, on the other hand, more formidable as archetypal villain who would ultimately face the protagonist in final showdown featuring hammers. Moranis is also good in the role of obnoxious manager while Yasbeck comfortably plays character originally written as a man. Dialogues are, on the other hand, mostly poor. The music, written by Hill’s associate Ry Cooder, is adequate but not exactly memorable, except for the song “I Can Dream About You” which, unlike the film, became a hit. Hill directed film well, managing to fit the story into hour and half. This would allow audience to enjoy it and not to be too distracted by its flaws.
RATING: 6/10 (++)
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