The Delinquents

I enjoyed this vintage film because it shows 50s era kids as perceived by adults of the day. It opens with dialogue from an announcer explaining about the plight of todays teenagers, then the story begins showing kids in real life then as they deal with problems about going steady and socializing. Unlike most teen films of the 50s, they apparently used real police officers in the movie as they are credited for this during the film credits. I must, however, criticize the music the teens are playing at their party. It is definitely pre-rock n roll type music when, in reality, they would have been dancing to Elvis, Fats, and many other 1956 era artists. Of course, adults of the day were just learning about the teenage music of choice then.

Despite the budget, the movie shows genuine flair, and it's not surprising that Altman went on to Hollywood following this energetic little indie. The KC locations manage to turn a budget disadvantage into an atmospheric advantage by creating a middle-America flavor well beyond Hollywood's usual sound-stage scope. Sure, the movie is dated. Nonetheless, many touchstones of teen culture are present— drive-in's, underage drinking, "good girls" and "bad girls". Too bad Altman didn't work in some Elvis or, at least, R&R.

Whether luck or acumen, Altman gets a strong cast with Bakalyan, Miller, and Laughlin. Bakalyan is a true teen superstar from that era and maybe it's best actor. Catch him in "The Cool and the Crazy" (1958), to appreciate a versatile sensitive side. Miller too impresses as the sneering and thoroughly dislikable gang leader. Apparently, he was too good at business to stay in the movies. And, of course, there's "Billy Jack" Laughlin practicing his limited form of pacifism that would later become a stock-in-trade. Unfortunately, there's also poor Rosemary Howard who struggles emotively as the good girl, but does look the part.

There is one scene like nothing I've seen from that era. Good guy Laughlin is taken to a tract home by the gang, where he's forced to drink an unlimited amount of hard liquor. One agonizing drink after another, you expect him to refuse. But he doesn't, going submissively along, and I'm getting sick just watching. It's almost excruciating to sit through, and is a much more effective warning against delinquent behavior than all the official ones. Altman also shows his way with crowd scenes in both the opening ruckus in the bar and in the teen party. Such byplay scenes, of course, were to become his trademark.

On the downside, the narrative is pretty choppy. I don't know if it comes from the script or the editing, but the story unfolds awkwardly at times, showing less than a polished hand. And, of course, there's that heavy-handed epilog and prolog that sounds like the voice of Big Brother warning the plebs. I guess that was the price for putting all the fun stuff before the public. And what about parents dragging all those 25-year olds down courthouse steps at movie's end!

Anyway, it's probably worth pointing out to younger viewers that despite what's on screen, the 50's generation was arguably the most conformist of any since WWII. They weren't called the "Silent Generation" for no reason. Good jobs were plentiful; at the same time, most youth simply wanted "to marry and settle down". Their biggest worry was whether they were too young to marry, and, of course, sex outside marriage was forbidden, which is what motivates Janice's dad in the movie. Real youth rebellion was still a decade away, and only strange cats like Jack Kerouac were on the road. All in all, the movie itself remains an interesting slice of that teen era.

A frustrated young man, separated from his younger girlfriend, gets involved in a juvenile gang.

Robert Altman wrote, produced, and directed this film in his hometown of Kansas City, Missouri during the summer of 1956 on a $63,000 budget raised by local theater owner Elmer Rhoden. He was hoping to cash in on the juvenile craze that American International Pictures made popular with films such as "Hot Rod Girl" (1956) and " Shake, Rattle & Rock!" (1956). Indeed, the film is very much in the AIP style and could pass for one of their productions.

As summed up by Altman, "I wrote the thing in five days, cast it, picked the locations, drove the generator truck, got the people together, took no money, and we just did it, that's all." Shooting was a bit of a pain, with Altman in constant disagreement with star Tom Laughlin (a Milwaukee native who went on to be known for the "Billy Jack" film series).

Cameraman Charles Paddock, on Altman's advice, imitated the lighting of "The Asphalt Jungle" (1950). This is probably why the film looks more professional than it actually was. Despite anything it might lack, the photography is smart and sharp.

United Artists bought the film for $150,000, earning it a quick profit before even hitting theaters. Altman maintained for years (at least up to 2001) that he did not care for the film, but Alfred Hitchcock of all people did and got Altman hired on for "Alfred Hitchcock Presents". Success! Rhoden produced one more film in Kansas City -- AIP's "The Cool and the Crazy" (1958) -- and was even featured in Time magazine as one of the "new wave" of producers. He then produced a delinquency film in Hollywood featuring the debut of composer John Williams, AIP's "Daddy-O" (1958), but his mini-mogul reign was short-lived.

Regardless of what some of the other uninformed reviewers here may think, this is a great little picture of the 1950s teen scene.

Of course we don't have the budget or production values of Dean's "Rebel" but the compact story and action move along swiftly.

It's interesting to watch such a young Billy Jack, and of course Dick Bakalyan turns in a great performance of, what else, a punk.

And yes some of the other cast members, besides Lauglin, DID continue on in the business quite successfully...Miller stayed busy, finally landing a recurring role in a soap, and all you have to do is turn your set on any time any day and you can find Bakalyan in something, the guy must be filthy rich.

A good flick.

Although United Artist released The Delinquents in 1957, it was filmed in Kansas City in the summer of 1955. That helps explain the musical choice of jazz over rock. When it was shot, the ground just been broken on the juvenile delinquent sub-genre with The Wild Ones and The Blackboard Jungle. A more timely release would likely have made it more successful at the box office and more influential on other rebelling teen films. Even with the late release, the film made a tidy profit for the studio.

Altman later said Tom Laughlin copped an attitude during the filming and was very difficult to work with.