Streets Of Fire full HD movie download free with screenpaly story, dialogue LYRICS and STAR Cast

In an unnamed city in a time period that resembles the 1950s (referred to within the film as 'another time, another place'), Ellen Aim (Diane Lane), lead singer of Ellen Aim and The Attackers, has returned home to give a concert. The Bombers, a biker gang, led by Raven Shaddock (Willem Dafoe), kidnap Ellen.

Witnessing this is Reva Cody (Deborah Van Valkenburgh), who asks her brother Tom (Michael Paré), an ex-soldier and Ellen's ex-boyfriend, to come home and rescue her as she's his ex-girlfriend. Tom returns, and after fighting with a small gang of four and whipping them, he takes their car. Reva has no luck talking Tom into rescuing Ellen, so he checks out the local tavern, the Blackhawk. He is annoyed by a tomboyish ex-soldier named McCoy (Amy Madigan), a mechanic who "could drive anything" and who is good with her fists. They leave the bar and Tom lets McCoy stay with him and Reva. That night, Tom agreed to rescue Ellen, but for $10,000 to paid by Billy Fish (Rick Moranis), Ellen's manager and current boyfriend.

While Reva and McCoy go to a diner to wait for Billy, Tom acquires a cache of weapons, including a pump action shotgun, a revolver, and a lever action rifle. Tom and Billy meet at the diner, and Billy agrees to pay Tom, but Tom requires that Billy goes with him back into "the Battery" to get Ellen since he used to live there, and after some negotiation, Billy agrees to go, and McCoy talks Tom into cutting her in for 10% to bring her along to help.

In the Battery, they visit Torchie's, where Billy used to book bands. They wait until nightfall under an overpass, watching bikers come and go. Raven has Ellen tied up in an upstairs bedroom. As Tom, Billy, and McCoy approach, Tom directs Billy to get the car and be out front in fifteen minutes.

McCoy enters and is stopped by one of the "Bombers". McCoy, pretending to like him, follows him to his special "party room," close to where Raven is playing poker. McCoy knocks him out. Tom finds a window and, as a distraction, starts shooting the gas tanks on the gang's motorcycles; he then reaches Ellen's room, cuts her free and, with McCoy's help, escapes just as Billy arrives at the front door.

Riding in the convertible, Tom sends his crew off to meet at the Grant Street Overpass,and leaves to blow up the gas pumps outside a bar. Raven appears out of the flames and chaos to confront Tom. After learning who he is, Raven warns he will be back for Ellen and for him, too. Tom escapes on the one intact motorcycle. Billy is persuading Ellen the only reason Tom rescued her was for money. Tom returns as McCoy explains to Billy that Tom used to be Ellen's boyfriend.

Ellen follows Tom, while Billy and McCoy go back and forth once again about Tom and Ellen's love affair. Ellen and Tom also have an argument. When they all meet up on the street, they are in "the Battery". They return Ellen safely home where she initially rejects her home town as well as Tom. Later, he goes to the hotel where Ellen and Billy are staying to collect his reward. He only takes McCoy's cut and throws the rest back at Billy, scattering it. He then tells Ellen that there was a time he would've done anything for her but no more. As Tom storms out, Ellen follows and the two embrace in the rain.

Meanwhile, Raven informs Officer Ed Price (Lawson), the head of the police department, that he wants Tom to meet him alone. If he agrees he will leave the Richmond alone. Price tells Tom to get out of town. Tom, Ellen, and McCoy leave on a train. He knocks out Ellen and returns to town for a climactic fight with Raven. Tom defeats Raven and the defeated gang carries their leader away. Later that night, Tom says a final goodbye to Ellen and rides off with McCoy.

Development

The concept for Streets of Fire came together during the making of 48 Hrs., and reunited director Walter Hill with producers Lawrence Gordon and Joel Silver, and screenwriter Larry Gross, all of whom worked together on that production. Gross later recalled:

Streets of Fire began in the euphoria of knowing that Paramount really liked 48 and wanted to be in business with us if they could. What happened was that after we screened that cut for Paramount, Larry looked at Walter and said, “Paramount is pregnant; let’s get something and set it up right away.” Walter knew what he meant—that we were in a great position here—so he said, “We can do this two ways: present an idea now and get a deal done, or write a script on spec and get a lot more money.” Walter proudly considers himself a capitalist, so he suggested we do the latter.

According to Hill, the film's origins came out of a desire to make what he thought was a perfect film when he was a teenager, and put in all of the things that he thought were "great then and which I still have great affection for: custom cars, kissing in the rain, neon, trains in the night, high-speed pursuit, rumbles, rock stars, motorcycles, jokes in tough situations, leather jackets and questions of honor".

According to Gross, Hill wanted to make a film about the hero of the comic book, but since he did not like "any of the comic books" he had read he wanted it to be an original character. "He wanted to create his own “comic book movie,” without the source material actually being a comic book," said Gross, which led to the creation of Tom Cody.

Scripting

The four men began planning Streets of Fire while completing 48 Hrs. Gross published a diary from the shoot of 48 Hours which had an entry dated 12 August 1982, the night before filming on that movie started:

Walter presents me with a page of notes he's prepared for a new script. It will be the first in a series of adventures of an action hero he's had it in his mind to create for a long time. The character's name is Tom Cody. And Walter has it in his head to create a franchise about him...introducing him as The Stranger. He asks me if I'm interested in writing the script with him...I ask him is the Pope Catholic? Larry and Joel would be along on this ride. Suits me.

During 48 Hours Gross said he thought that Hill had received "a bum rap on the woman question" over the years. "People think that he doesn't like women and he knows that's not true. I think that's going to be demonstrated even more clearly in his next films. He told me he's going to do this new thing: he's going to put a female character right in the centre of the narrative."

Larry Gross later said they were affected "as everyone was at the time" by the success of Flashdance and they decided during writing that the film would be a musical:

We said this movie is a stylized movie, it’s not so different from the world of a musical. And there were a few other things that contributed to that direction. One was the decision on Universal’s part, a crazy decision, to shoot the movie almost entirely in the studio under a tarpaulin. They built this gigantic tarpaulin, and the Battery and all these other places were built as real places. The Richlands. And just so you know, this is the early ’80s and you had stylized films—like New York, New York—that were all done on set and that idea was in the air. That idea of a totally artificial universe. The point is that we had in mind one sentence inspired by George Lucas: “in a galaxy long ago,” a futuristic past. That was in our heads…there’s the past and there’s the future, sort of.

Walter Hill thought "the audience will go with you when you set up an abstract world with teenage values and play out a drama within this. It was kind of real but it wasn't really. I always said whenever someone says fantasy they immediately think of more Disney--esque. The idea of a hard hitting drama in a fantasy world, that was kind of different at the time... I always thought of it as a musical. They kind of saw it worked in the world of an MTV video.

Gross says he and Hill were also influenced by the teen films of John Hughes.

We were in the universe of the teenage movie. Teenage reality. So we said here’s what’s going to be weird about the world of our movie: No one’s going to be over 30. The world is a high school, essentially. And Tom Cody will be the football hero. And Willem Dafoe is the greaser. Remember: You had John Hughes at the time, and then you had Coppola making two high school movies: The Outsiders and Rumble Fish. So Walter said we’re going to make a high school movie that’s also going to be a comic book and also going to be a musical.

Gross says Hill did not want the film to be especially violent - there would be no blood and no one would die. "He’d say it would be inappropriate to direct this movie if there were any blood," said Gross. "We’re in the world of Cocteau, we’re in the world of Beauty and the Beast. This is a fairy tale. Now…he neglected to mention that some fairy tales are very violent."

Gross and Hill would work out their ideas in detail. Gross would do a draft and Hill would rewrite it. "He did not love creating scripts from scratch; he loved rewriting." However by this stage Gross and Hill had worked together so closely Gross says "I began to develop a strong sense for knowing how to sound like he did."

Financing

When the script was finished, they sent it to Paramount. Gross says that Jeff Berg (Walter’s agent), Larry Gordon and Michael Eisner, head of production at Paramount, "got into some kind of a fight when the script was finished. We learned later that, I believe, Eisner rejected it on the grounds that it was too similar to Indiana Jones. Conceptually. So they didn’t pull the trigger and Berg ended up selling it to Universal."

They submitted the script to Universal executive Bob Rehme on a Friday (in January 1983) and by the end of the weekend, the studio had given them the go-ahead to make the film. This was the fastest ever greenlight Hill had received and he put it down to the box office success of 48 Hours.

The Title

The film's title came from a song written and recorded by Bruce Springsteen on his 1978 album Darkness on the Edge of Town. Negotiations with Springsteen for rights to the song delayed production several times. Originally, plans were made for the song to be featured on the film's soundtrack, to be sung by Ellen Aim at the end of the film, but when Springsteen was told that the song would be re-recorded by other vocalists, he withdrew permission for the song to be used. Jim Steinman was brought in to write the opening and closing songs, and "Streets of Fire" was replaced by "Tonight Is What It Means to Be Young". The studio claimed that they replaced Springsteen's song because it was a "downer".

Casting

When it came to casting the movie, Hill wanted to go with a young group of relative unknowns. Gross says "There was always the idea that we were going to discover a new Steve McQueen, you know? A young, white guy who would ride a motorcycle and have a carbine over his shoulder and be a mainstream icon."

Among the actors they saw for the role of Tom Cody were Eric Roberts, Tom Cruise and Patrick Swayze. Gross says they wanted Tom Cruise and made him an offer, but he had already accepted another role

Hill heard about Micha