The Wanderers

The Wanderers

Director - Philip Kaufman

Writers - Richard Price & Rose Kaufman & Philip Kaufman

1979, USA

Stars – Ken Wahl, Karen Allen, John Friedrich

 

Less obviously Comic Book than ‘The Warriors’ but equally broad, ‘The Wanderers’ has a somewhat nostalgic recreation of Bronx gangland. Even so, the rough edges and a gleeful soundtrack of hits of the era give this a charm and veracity that are thoroughly winning. It’s Brooklyn High School and being in a gang is a survival move for belonging and protecting yourself against other gangs; but in truth that’s no real protection from betrayal and a slap-down. Surely there’s no doubt that the introduction of the gangs/cliques in the school corridors has been a major influence on so many others that followed.

 

It’s more ‘American Graffiti’ than ‘The Warriors’, and toxic masculinity and outdated mores are everywhere; that is, the misogyny won’t play so well to modern sensibilities – it was a different era and it was an innocent time of copping feels on the street (and see that poster). But it is interesting that, even though the title song may imply an aspirational role model – as great and as fun as Dion DiMucci’s song sounds, its self-centred and boastful philanderer is pretty irresponsible, if not predatory – but it is Richie’s cheating that gets him ostracised from The Wanderers, and it’s his having to take responsibility for his actions that leaves him moving from gangs to the realm of gangsters (which doesn’t seem to be to his taste). As with ‘Quadrophenia’, it’s real life and adulthood that puts paid to the youthful glamour and fantasy of gang friendships, where it’s all about belonging and fighting.

 

It’s an ode to lost friendships of another time, and even though it’s based on Richard Price’s novel, we’re a long way from the truths and the gut-punches of ‘The Wire’, but there is a rough edge and grittiness underneath the pop nostalgia. These teens are surrounded by a bunch of useless, manipulative and abusive adults and a real pending threat: whereas the gangs get cool jackets and catchphrases – “Don’t mess with the Wongs!” – and the Baldies are the given chief rivals, it’s the Duckys that are cast as the real threat: the real danger and moving in horror shadows and silent malevolence.

 

 

 

The true currency of ‘The Wanderers’ are the ensemble of characters and sublime needle drops, as typical of the genre. Ken Wahl (Richie) manages a latent innocence and good guy beneath the meathead; John Friesrich (Joey) is aggravated and aggravating, a small man powder keg of frustration; Erland van Lidth (Terror) is quite baffling; Michael Wright (Clinton) carries all the dignity; Linda Manz (PeeWee) has all the genuine feistiness, emerging as tragic; and Karen Allen as Nina carries all the warmth, apparently wandering in from a more mature film. But tap at the surface and there’s deeper currents: Nina is a bit of a scumbag, seducing Richie in plain view of his girlfriend (who isn't necessarily so bright, but also isn't the butt of jokes as you might anticipate); there are hints of latent homosexuality; Richie isn’t like the song (and Wahl cannily plays Richie with an increasing lost look of bafflement); and even the Duckys all go to church (silently).

Of course, it’s a tainted Golden Era coming to an end with Kennedy’s assassination and Dylan singing “The Times They Are A-Changing” at a folk bar. It’s a new era that Richie can’t enter, even when following a lost potential chance at love, or at least something different than a future of filling out a Hawaiian shirt.