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Over The Edge (1979) - Director: Jonathan Kaplan
Kids (1995) - Director: Larry Clark Hollywood has long been fascinated by teenage rebellion, and teen rebellion films have historically been a vehicle for social commentary and a launching pad for future stars. The 1970s, 80s and 90s witnessed three quintessential portrayals of teen angst grace the silver screen. Each delivered a chilling and uncompromising depiction of youth gone wild; each cast blame on a society too self-absorbed to notice, and each introduced audiences to some of the industry's brightest up-and-coming talent. While Jonathan Kaplan's Over The Edge may be most notable for introducing the world to Matt Dillon, no less important is its indictment of the late-1970s "strip-town" phenomenon -- emerging "planned" suburban communities in the mid and southwest - and the absentee parents who resided there. Set in the fictitious "everytown" of New Granada, Kaplan's film examines the cultural chasm that separates teens growing up with nothing to do from parents who arguably have far too much. Not surprisingly, as their kid's (or "everyone else's kids," as the protagonist's family naively attests) behavior becomes more and more volatile, the community responds by imposing further restrictions on their activities (such as enacting a teen curfew and eliminating the after-school recreational center) -- decisions that only serve to further alienate their children. The growing powder keg eventually erupts in violence when the towns' youth population vandalize, burn, and demolish New Granada's junior high school; all while their parents are trapped inside! Shock value aside, Kaplan's message is clear: those who ignore their own children shall one day suffer the wrath of those they bore. Ten years later, director Hugh Hudson gave film-goers their first glimpse of a new adolescent crisis: suburban teen gangs. Lost Angels was the first time Hollywood addressed this emerging phenomenon, and also marked the big-screen debut for Amy Locane (Cry Baby, School Ties) and Adam Horovitz (better known as the Beastie Boys' King Ad-Rock). Like Kaplan, Hudson clearly places blame at the feet of broken households and parents with far more money than time. However, Hugh's vision of contemporary youth culture is far less apocalyptic than his predecessor's. Rather than culminating in violence, Hudson's picture ends on a positive note as the film's protagonist (Horovitz) amends his once self-destructive lifestyle thanks to the guidance of his dedicated psychiatrist. (Horovitz's peers, who experience no adult intervention, undergo no such change.) As such, the contrast (and message) behind both films becomes strikingly clear. Whereas the emphasis of Kaplan's film lies in showing audiences the startling repercussions of parental (and societal) neglect, Hudson's reinforces the positive changes just one caring adult can make in the life of a child. Go To Page: 1 2
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