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DIRECTED BY: Allan Arkush
PLOT: Riff Randell battles the punk-hating administration at her high school by invoking the musical powers of her favorite band, The Ramones.
COMMENTS: The Ramones were icons of minimalism. Progenitors of punk, they pioneered a sound that was somehow both retro and revolutionary, delivering two-chord, two-minute landmarks that had none of the feel of craft and all of the sensation of having been spewed out of the most primal reaches of the band members’ autonomic nervous systems. Everything about them was reduced to its bare essentials: a basic guitar-bass-drum setup, fronted by a flat, nasal vocal that was tuneful while making no pretensions to being musical, presented by a group that spoke to punk’s fierce independence with a façade of careful uniformity, from the matching leather jackets and torn jeans to the identical messy face-obscuring Kate Jackson hairstyles, and even extending to their manufactured noms de théâtre. Everything about them was carefully engineered to celebrate everybody by being nobody.
So the notion that the Ramones would be the centerpiece of a bubbly teenager’s every waking moment is a little dissonant. And that they would somehow come to have an entire feature film devoted to them—one with a substantial cult following—is nothing short of bizarre. It’s the domain of old people to complain that the kids are making idols out of empty shells, but the emptiness of the Ramones is part of their very essence. They’re almost antithetical to the idea of teenybop worship. To watch P J. Soles’ Riff Randell—a veritable firehose of giddy hyperactivity—go gaga for this quartet of empty t-shirts is to plunge headlong through the looking glass. Try to imagine a Disney Channel original movie where a precocious 12-year old learns self-confidence through the power of her favorite band, and that band turns out to be GWAR. (Note to Disney: Please greenlight this. I will absolutely write the script for you.)
But for the purposes of the Roger Corman film factory, the Ramones hardly matter. They’re answer to a Mad Lib wherein [INSERT NAME OF BAND] inspires kids to overthrow those dullard grownups. (It’s telling that Corman’s original suggestion was center the film around disco music, an idea that would have been truly transgressive if it had been filmed two years earlier and dared to address the politics of race and sexual orientation endemic to the genre.) Rock ‘n’ Roll High School has one goal, and it’s to tell the kids how much cooler they are than those stick-in-the-mud adults. And if we have to put our thumb on the scale to make the old people especially dorky and uncool, well hey, that’s just Roger Corman being a smart businessman.
There’s absolutely nothing wrong with the kind of movie that Rock ‘n’ Continue reading CAPSULE: ROCK ‘N’ ROLL HIGH SCHOOL (1979)