Songs: soundtrack album: "Rock and Roll, Hoochie Koo" perf. Rick Derringer, "Slow Ride" perf. Foghat, "School's Out" perf. Alice Cooper, "Jim Dandy" perf. Black Oak Arkansas, "Tush" perf. ZZ Top, "Love Hurts" perf. Nazareth, "Stranglehold" perf. Ted Nugent, "Cherry Bomb" perf. The Runaways, "Fox on the Run" perf. Sweet, "Low Rider" perf. War, "Tuesday's Gone" perf. Lynyrd Skynyrd, "Highway Star" perf. Deep Purple, "Rock and Roll All Nite" perf. KISS, "Paranoid" perf. Black Sabbath - also in the movie: "Hurricane" perf. Bob Dylan, "Hey Baby" perf. Ted Nugent, "Sweet Emotion" perf. Aerosmith - and more.
S: Sandy Gendler, Val Kuklowsky – Dolby SR. ED: Sandra Adair. Casting: Don Phillips.
C: Jason London (Randall "Pink" Floyd), Wiley Wiggins (Mitch Kramer), Rory Cochrane (Ron Slater), Matthew McConaughey (David Wooderson), Sasha Jenson (Don Dawson), Michelle Burke (Jodi Kramer), Christine Harnos (Kaye Faulkner), Adam Goldberg (Mike Newhouse), Anthony Rapp (Tony Olson), Marissa Ribisi (Cynthia Dunn), Catherine Avril Morris (Julie Simms), Shawn Andrews (Kevin Pickford), Cole Hauser (Benny O'Donnell), Milla Jovovich (Michelle Burroughs), Joey Lauren Adams (Simone Kerr), Christin Hinojosa (Sabrina Davis), Ben Affleck (Fred O'Bannion), Parker Posey (Darla Marks), Deena Martin (Shavonne Wright), Nicky Katt (Clint Bruno), Esteban Powell (Carl Burnett), Jason O. Smith (Melvin Spivey), Mark Vandermeulen (Tommy Houston), Renée Zellweger (Nesi White). Loc: Austin, Texas.
No theatrical release in Finland – vhs: 1994 CIC Video – tv: 3.11.2011 MTV3 – VET 98732 – S14 – 102 min
The title is taken from the Led Zeppelin version of the song with the same name (not played in the movie) (original: Jake Holmes, 1967 – The Yardbirds, 1967 – Led Zeppelin, 1968).
A 2K DCP from Universal screened at Cinema Orion, Helsinki (Teenage Movies of the 1990s), 18 Sep 2014
For us who appreciate Richard Linklater's Before trilogy - the three duets between Julie Delpy and Ethan Hawke - it is a pleasant revelation to discover him here, before the first Before film, as a director of a large ensemble cast.
There are no protagonists and no starring roles, but instead, every role matters, and the good judgement in the casting has been proven retroactively by the fact that so many of the then little known performers have since established themselves on solid careers and even risen to stardom.
I was thinking about Satyajit Ray (Days and Nights in the Forest), Yasujiro Ozu, and Anton Chekhov during this film. On the surface nothing happens. Beyond the surface, everything happens.
The title is important. During the teen years everything is in turbulence, and it is hard to get support from anywhere. The ones who are a bit older and who could be the most helpful are here the worst enemies. It is the last day at school before the summer holiday, and the ritual is that freshmen are punished: boys with special spanking paddles, and girls via other humilating acts (being soiled, ordered to crawl and to offer themselves as slaves to boys).
I understand why Dazed and Confused has achieved cult film status (I generally hesitate to use the term, but here it is apt). The narrative is seemingly trivial (the anticlimactic finale is about getting to an Aerosmith concert), but full of meaningful detail.
Of the wonderful cast Cynthia (Marissa Ribisi) is the thinker. She sums up the decades starting from the 1950s (innocent?), 1960s (great), and the 1970s (they suck). "Maybe the 1980s will be radical". But she also crystallizes the carpe diem philosophy. What are we waiting for? Death.
A house party is cancelled since the parents realize what is being planned and decide to stay at home. Instead, some of the youngsters party in the wood. It is a brilliant sequence. There is an ascent into a tower. On the ground, young girls pass out.
The protagonists are not grown-up yet. At home, parents are waiting. "Next time you come in the sunrise we got problems".
The film is built on many elements that are ordinary but better realized here than almost anywhere else. One of those elements is the soundtrack: the tracks are largely familiar but feel perfect here. In the end there is an impressive dramatis personae sequence; I confess I missed Ben Affleck in the narrative itself but caught him up in that sequence.
The digital quality is brilliant, bright and clear, and slightly airless. No problem with close-ups and interiors. This is a difficult film to digitize because of the large ensemble shots and the exterior night shots.