RETRO MOVIE REVIEW: THE WANDERERS, 1979

THE WANDERERS, 1979, directed by Philip Kaufman (THE RIGHT STUFF, 1983 and RISING SUN, 1993), written by prolific novelist and screenplay writer Richard Price (THE COLOR OF MONEY, 1986 and SEA OF LOVE, 1989) is one of many unique urban gang films that was released in the late 1970s.

In 1979 alone Walter Hill’s interpretation of Xenophon’s ancient Greek tale ANABASIS was produced as THE WARRIORS, and Michael Pressman’s BOULEVARD NIGHTS was released along with THE WANDERERS. Just a few years earlier THE LORDS OF FLATBUSH, 1974, starring Henry Winkler (pre Fonzie from the hit show HAPPY DAYS) and Sylvester Stallone (pre ROCKY) hit the theaters. In 1981 Luis Valdez’s ZOOT SUITE starring Edward James Olmos (BLADE RUNNER, 1982) was released. That’s a lot of gang related films released in such a short time. Why the trend was so popular at the time is beyond me, but audiences were treated to very good cinematic achievements.

As far as THE WANDERERS cast goes, you can’t really focus on one main character or performer because the film has an ensemble of fresh-faced talent. The primary characters are well defined and progress the story forward. I don’t feel that any character in the film is filler. A great deal of the cast moved on to many films and television shows of the 1980s. The two breakout stars were Karen Allen (RAIDERS OF THE LOST ARC, 1981) and Ken Wahl (WISEGUY television series, 1987-1990).

THE WANDERERS, adapted from Richard Price’s brilliant novel, revolves around a gang of teenage Italian boys from the Bronx, New York City in 1963. The film is an urban social commentary focusing on many aspects such as race and ethnicity, class structure, teen angst, family structure, and politics. That’s a lot of story elements to fit in a film and Kaufman directs it masterfully. Plus, add the styles and music from 1963 and you basically have a well-crafted New York period piece.

On the surface the film plays like a comedy, but underneath tragic elements give body to the story and motivate uplifting change. Members of THE WANDERERS face dysfunction such as parental abuse, parental alcoholism, teen pregnancy, and above all, a severe lack of direction in life. The subtext of the gang aspect in the film primarily focuses on race and ethnicity. A sense of belonging is a motivator for urban youth when it comes to being initiated into a gang. The film is filled with a multitude of gangs that wear their pride, race, and social class on their stylistic jackets. The Wanderers are Italian-American working class. The Wongs are Chinese working class. The Del Bombers represent the black community. The Fordham Baldies are older shave headed misfits. The Ducky Boys fill the role of religious fanatics.

The basic through-line of the story revolves around a racial disagreement between The Wanderers and the Del Bombers during a history class. Ironically, a history teacher tries to breakdown racial barriers and it all goes bad. Pride and honor are at stake and the only way to settle it is by a rumble. The Wanderers do not have a chance against the Del Bombers and in order to even the odds, the city elders step in to settle it. There will be no rumble, but there will be a football game in order to settle the dispute. The working class Wanderers go up against the stylistic high-flying Del Bombers in a low-class neighborhood super bowl run by a bunch of loan sharks and bookies. It’s all great fun until the Ducky Boys crash the party. The Ducky Boy threat units not only The Wanderers and the Del Bombers, but also all the gangs in the neighborhood. Putting aside racial and economic class allows them to defeat the Ducky Boys in an epic battle on a football field.