The Outsiders is one of Coppola’s last great films, though not often considered such, before he ventured down a more mainstream path. Although stylized, it is more effective and restrained than the overblown One from the Heart and accurately captures the anarchic spirit of almost directionless youth, perhaps even questing for some direction and purpose in their lives. Yet despite their hopeless surroundings, there is an immense loyalty amongst the protagonists as it is clear that the “greaser” identity has offered them a belonging in addition to their broken family ties (Howell’s parents are dead, Macchio’s do not care). These youths stick together and gain in strength from their opposition to the socs as if part of a great system of warring tribes related to socio-economic standing. The film in turn examines the bonds and tensions within such a gang structure and concentrates on two adolescents whose youth is drawing to an end, their pointless existence paradoxically culminating in an act of selfless, symbolic, heroism. In the peril of such anarchic youth, Coppola is able to find an epic grandeur and vision, at once melancholic, despairing and promising. It is provocative in its depiction of growing pains in that it seeks to resolve the dilemma of life without a father figure, and in Howell’s plight in particular Coppola finds an idealized demonstration of youth at closing point, where introspection yields a greater understanding.
Youth to Coppola however is far from an uncomplicated ideal. Yet despite its hardships, for these people it is almost a moment of perfection, destined, like many critics have pointed out, to fade like the beautiful sunsets that are scattered through the film. Coppola considered the erosion of a sunset to be an apt metaphor for the end of adolescence and built much of the film around that notion, of lives caught in the transition to maturity. He finds a dignity and honour amongst these youthful lowlifes and never condescends to their plight, indeed rooting heroism in the very impetuosity and desperation of their youth. The bonds between these people keep them going and even Dillon is distraught at Macchio’s fate, turning to crime out of frantic rage and maybe even guilt. The dying Macchio too has finally found a worthwhile meaning in his actions, perhaps even lamenting that the absence of such leads to greater pain and tragedy. Through all, Howell and the other greasers find a measure of triumph in their togetherness and the film is a tribute to their troubled youth, a graceful, delicate film of the beauty in a tumultuous maturation. Although most critics have since determined that Coppola ultimately fell short of the epic cinematic hymn he intended, their collective opinion does not distract from the film’s accomplishments. read more