Like a stunned archaeologist I happened upon a relic from the past that may be a Holy Grail for shining light on an era and a people; it’s a little movie called Tuff Turf. Perhaps it can be used not to tell us about life in 1985 — I imagine that any relation to actual life is purely coincidental — no, it tells us more about the hack filmmakers of that period. Like so many films about young people in that period, the filmmakers are highly influenced by the worst qualities of music videos and seem intent on filling the movie with banal musical interludes. It’s a mix of Class of 1984 and Footloose (which obviously includes some Rebel without a Cause), mixing in live performances but without the skill of Streets of Fire. Yes, it’s supposed to be a gritty school gang vs. the new guy flick, but where flicks like Class of 1984 and even Bad Boys were legitimately disturbing, even with some heavy moments of violence Tuff Turf carries the influential stamp of Grease 2, or worse, ‘60s beach movies. There’s actually a shocking moment when the kids break out in a spontaneous, highly choreographed dance number (no, really); any state of edge in the film is an accident. Oh, and the editing and timing are completely stilted and awkward. However, these minor grievances aside, Tuff Turf is a bad film; as a matter of fact its severe mediocrity actually makes it all the more fascinating and entertaining. 

Though that amazing string of performances in A Streetcar Named Desire, Viva Zapata!, Julius Caesar, and On the Waterfront earned Marlon Brando four straight Oscar nominations (finally winning for Waterfront) and made him the most celebrated acting talent of his generation, it’s actually his work as Johnny in The Wild One that made him an icon of rebellion and helped inspire the youth culture that was just beginning to emerge in America (and abroad). The Wild One was the first “biker picture” to penetrate mainstream consciousness, a genre that would become very popular in independent film ten lean years later.

Though produced by issue-director/producer Stanley Kramer, giving the film an overly dramatic “this is important” vibe, it’s actually a really fun B-movie, carried by Brando’s cocky performance. His Johnny leads his biker gang almost like a cult leader. The gang, with their rowdy antics, tries to impress their messiah, but Johnny, with his southern/ be-bop accent, is a man of few words. Hitting the road looking for kicks, Brando and his gang stumble on a small town where they instantly catch the attention of the law and some uptight citizens, and a saloon owner invites them to stay for beer and sandwiches. The innocent young barmaid Kathie (the very beautiful Mary Murphy) catches Johnny’s eye. It doesn’t help when he declares “I don’t like cops,” even though her dad is the town’s sheriff (Robert Keith, father of Brian), and is actually very evenhanded and sympathetic to Johnny and his pals.

Before the success of Fast Times At Ridgemont HIgh and John Hughes’ condescending acne epics, the teen movie genre barely existed. In the late 1970s, the early teen years were usually either scary (Over The Edge) or whimsical (A Little Romance). The terrific film, My Bodyguard, manages to combine both and then split the difference. Journeyman actor Tony Bill made a very effective directing debut with My Bodyguard, it’s now considered a minor classic of the teen genre. He would follow it up with the awful Dudley Moore/Mary Tyler Moore weeper, Six Weeks, but then redeem himself with the interesting cult flick, Five Corners. Since then he has become a reliable TV director.