Rumble Fish full HD movie download free with screenpaly story, dialogue LYRICS and STAR Cast

Set in Tulsa, Oklahoma, the film begins in a diner called Bennys Billiards, where local tough guy Rusty James is told by Midget that rival group leader Biff Wilcox wants to meet him that night in an abandoned garage lot for a fight. Accepting the challenge, Rusty James then talks with his friends — the wily Smokey, loyal B.J., and tall, nerdy Steve - who all have a different take on the forthcoming fight. Steve mentions that Rusty James' older brother, "The Motorcycle Boy," would not be pleased with the fight as he had previously created a truce forbidding gang fights, or "rumbles." Rusty James dismisses him, saying that the Motorcycle Boy (whose real name is never revealed) has been gone for two months, leaving without explanation or promise of return.

Rusty James visits his girlfriend, Patty, then rendezvous with his cadre and walks to the abandoned garage lot, where Biff and his buddies suddenly appear. The two battle, with the fight ending when Rusty James disarms Biff and beats him almost unconscious. The Motorcycle Boy arrives dramatically on his motorcycle and his appearance distracts Rusty James who is slashed by Biff in the side with a shard of glass. Incensed, the Motorcycle Boy sends his motorcycle flying into Biff. The Motorcycle Boy and Steve take Rusty James home (past Officer Patterson, a street cop who's long had it in for the Motorcycle Boy) and nurse him to health through the night. Steve and the injured Rusty James talk about how the Motorcycle Boy is 21 years old, colorblind, partially deaf, and noticeably aloof — the last trait causing many to believe he is insane.

The Motorcycle Boy and Rusty James share the next evening with their alcoholic, welfare-dependent father, who says that the Motorcycle Boy takes after his mother whereas, it is implied, Rusty James takes after him. Things start to go wrong for Rusty James: he's kicked out of school after his frequent fights. Despite Rusty James's desire to resume gang activity, the Motorcycle Boy implies that he has no interest in doing so. Rusty James has sex with another girl and Patty rejects him.

The two brothers and Steve head across the river one night to a strip of bars, where Rusty James enjoys briefly forgetting his troubles. The Motorcycle Boy mentions that he located their long-lost mother during his recent trip while she was with a movie producer, which took him to California although he did not reach the ocean. Later, Steve and Rusty James wander drunkenly home, and are attacked by thugs, but both are saved by the Motorcycle Boy. As he nurses Rusty James again, the Motorcycle Boy tells him that the gang life and the rumbles he yearns for and idolizes are not what he believes them to be. Steve calls the Motorcycle Boy crazy, a claim which the Motorcycle Boy does not deny — further prompting Rusty James to believe his brother is insane, just like his runaway mother supposedly was.

Rusty James meets up with the Motorcycle Boy the next day in a pet store, where the latter is strangely fascinated with the Siamese fighting fish, which he refers to as "rumble fish." Officer Patterson suspects they will try to rob the store. The brothers leave and meet their father, who explains to Rusty James that, contrary to popular belief, neither his mother nor brother are crazy, but rather they were both born with an acute perception. The brothers go for a motorcycle ride through the city and arrive at the Pet Store where the Motorcycle Boy breaks in and starts to set the animals loose. Rusty James makes a last-gasp effort to convince his brother to reunite with him, but the Motorcycle Boy refuses, explaining that the differences between them are too great for them to ever have the life Rusty James speaks of. The Motorcycle Boy takes the fish and rushes to free them in the river, but is shot by Officer Patterson before he can. Rusty James, after hearing the gunshot, finishes his brother's last attempt while a large crowd of people converges on his body.

Rusty James finally reaches the Pacific Ocean (something the Motorcycle Boy failed to do) and enjoys the shining sun and flocks of birds flying around the beach.

Francis Ford Coppola was drawn to S. E. Hinton's novel Rumble Fish because of the strong personal identification he had with the subject matter — a younger brother who hero-worships an older, intellectually superior brother, which mirrored the relationship between Coppola and his brother, August. A dedication to August appears as the film's final end credit. The director said that he "started to use Rumble Fish as my carrot for what I promised myself when I finished The Outsiders". Halfway through the production of The Outsiders, Coppola decided that he wanted to retain the same production team, stay in Tulsa, and shoot Rumble Fish right after The Outsiders. He wrote the screenplay for Rumble Fish with Hinton on Sundays, their day off from shooting The Outsiders. During rehearsals, Dillon got used to the adult-like acting behavior and situations after having been in The Outsiders. Dillon and Rourke developed a friendship when filming, getting used to their interesting, mischievous characters.

Pre-production

Warner Bros. was not happy with an early cut of The Outsiders and passed on distributing Rumble Fish. Despite the lack of financing in place, Coppola completely recorded the film on video during two weeks of rehearsals in a former school gymnasium and afterwards was able to show the cast and crew a rough draft of the film. To get Rourke into the mindset of his character, Coppola gave him books written by Albert Camus and a biography of Napoleon. The Motorcycle Boy's look was patterned after Camus complete with trademark cigarette dangling out of the corner of his mouth — taken from a photograph of the author that Rourke used as a visual handle. Rourke remembers that he approached his character as "an actor who no longer finds his work interesting".

Coppola hired Michael Smuin, a choreographer and co-director of the San Francisco Ballet, to stage the fight scene between Rusty James and Biff Wilcox because he liked the way he choreographed violence. He asked Smuin to include specific visual elements: a motorcycle, broken glass, knives, gushing water and blood. The choreographer spent a week designing the sequence. Smuin also staged the street dance between Rourke and Diana Scarwid, modeling it after one in Picnic featuring William Holden and Kim Novak.

Before filming started, Coppola ran regular screenings of old films during the evenings to familiarize the cast and in particular, the crew with his visual concept for Rumble Fish. Most notably, Coppola showed Anatole Litvak's Decision Before Dawn, the inspiration for the film's smoky look, F. W. Murnau's The Last Laugh to show Matt Dillon how silent actor Emil Jennings used body language to convey emotions, and Robert Wiene's The Cabinet of Dr. Caligari, which became Rumble Fish's "stylistic prototype". Coppola's extensive use of shadows, oblique angles, exaggerated compositions, and an abundance of smoke and fog are all hallmarks of these German Expressionist films. Godfrey Reggio's Koyaanisqatsi, shot mainly in time-lapse photography, motivated Coppola to use this technique to animate the sky in his own film.

Principal photography

Six weeks into production, Coppola made a deal with Universal Studios and principal photography began on July 12, 1982 with the director declaring, "Rumble Fish will be to The Outsiders what Apocalypse Now was to The Godfather." He shot in deserted areas at the edge of Tulsa with many scenes captured via a hand-held camera in order to make the audience feel uneasy. He also had shadows painted on the walls of the sets to make them look ominous. In the dream sequence where Rusty James floats outside of his body Matt Dillon wore a body mold which was moved by an articulated arm and also flown on wires.

To mix the black-and-white footage of Rusty James and the Motorcycle Boy in the pet store looking at the Siamese fighting fish in color, Burum shot the actors in black and white and then projected that footage on a rear projection screen. They put the fish tank in front of it with the tropical fish and shot it all with color film. Filming finished by mid-September 1982, on schedule and on budget.

The film is notable for its avant-garde style, shot on stark high-contrast black-and-white film, using the spherical cinematographic process with allusions to French New Wave cinema. The striking black-and-white photography of the film's cinematographer, Stephen H. Burum, lies in two main sources: the films of Orson Welles and German cinema of the 1920s. When the film was in its pre-production phase, Coppola asked Burum how he wanted to film it and they agreed that it might be the only chance they were ever going to have to make a black-and-white film.

Coppola envisioned a largely experimental score to complement his images. He began to devise a mainly per