One of the greatest scenes ever put on film is in this movie: Ken Wahl, about to get married, facing the transition between youth and responsibility, peers through a window at the action at Gerdes' Folk City in Greenwich Village, where, he dimly senses, there's a whole new world beyond his comprehension...it's pure gold, like most everything in this movie. I don't recall rock'n'roll songs ever being put to better or more appropriate use in a sound track. I don't recall a movie ever shifting more seamlessly, effortlessly, from gritty naturalism to bizarro impressionism and back. The cast is great! Whatever happened to some of these actors? There really was a Fordham Baldies, and I grew up not far from the old Alexander's in the Bronx, so I can't pretend to objectivity. For me, this is rather like a New York version of American Graffiti; it creates a world that I feel at home in, even if I never was a gang member and we left the Bronx when I was eight. By the way, the adaptation from Richard Price's book is, I think, remarkable. The book is a series of thematically linked stories that become a single organic story in the film. And I can't blame Ken Wahl--or his character--from being besotted by Karen Allen. Personally, I'd have gone right into Gerdes and flung myself at her feet. Oh yeah, the late Dolph Sweet is superb here.
