I’m always on the lookout for movies that reflect the experiences of Generation X, being a member of that forgotten generation, myself. Jonathan Kaplan’s Over the Edge from 1979 is a coming-of-age teen drama infused with a massive amount of ennui, alienation, and rebellion. It also focuses on characters aged around 13 to 15 years old, making it an early look at Gen Xers. May 18th marks the 45th anniversary of the beginning of the film's limited theatrical release, so let's take a look back!
The story follows the lives of a group of disenchanted teens who have all been transplanted to an antiseptic-planned community in rural Colorado by their distracted parents. Their only outlet is a rec center that is constantly watched by overbearing cops. When news comes that the plans for a bowling alley and movie theater have been scrapped in favor of building an industrial park, the disaffected youths indulge even more deeply in alcohol, drugs, vandalism, and theft. The friction between the kids and adults soon leads to violence and an explosive confrontation.
Michael Kramer is our lead, the loyal and idealistic Carl, and his best friend is the wild Richie, played by Matt Dillon in his first role. Pamela Ludwig is Carl’s crush, Cory. Vincent Spano, who has had a nice career as a working actor, plays the BB gun-toting, dirtbike-riding bully Mark, and Tom Fergus is memorable as the drugged-out, fun-loving Claude. As for the adults, we get Harry Northup as prick cop Doberman, Andy Romano as Carl’s businessman father, Ellen Geer as Carl’s homemaker mother, and Julia Pomeroy as Julia the rec center director and the only grownup sympathetic to the kids’ viewpoint.
Charlie Haas and Tim Hunter’s script is based on true events and strives for realism. Mining the San Francisco Examiner article “Mousepacks: Kids on a Crime Spree” for the premise, they went so far as to visit the town that was the subject of the piece and interviewed some of the participants. So yes, there are more than a few shocking moments, but it never feels less than authentic. The anarchic climax might be a little outlandish, but it delivers so well on the movie’s themes and social commentary that it still fits. Dialog has a certain written feel to it, but I think it’s only noticeable due to some slightly unpolished performances.
Speaking of acting, Kramer does a good job of funneling our experience of this world. He’s likable, even if his role isn’t as flashy as Dillon’s or Spano’s, and his heart tempers some of the film’s harder proclivities. Dillon does steal the show, though, as the proverbial rebel without a cause. Even at 14 years old, you could see that he had a natural screen presence. Everyone else does solid work, although some line deliveries sound like they’re being read off of cue cards. Honestly, though, that adds to the film’s pseudo-punk aesthetic.
This is a good-looking film. Andrew Davis, who would go on to direct The Fugitive, shot the piece with a gritty documentary style while still making room for some beautiful compositions. His efforts are integral to the atmosphere of the flick. My favorite shot is one where a group of kids are departing an incomplete and abandoned housing project at dusk, walking through an overgrown field. It’s moody stuff that perfectly encapsulates the kids’ existence. Notably, Gary Kibbe, who would eventually be John Carpenter’s DP on a number of films, worked as the camera operator here.
There are a surprising amount of effects on display. Car crashes and bloody makeup are integral, and there are some truly impressive practical explosions. Sets gift the production an immersive backdrop, that when combined with the docu-style filming creates a completely believable atmosphere. Shot outside of Aurora, Colorado, the desolate natural beauty almost becomes its own character.
Music plays a huge part in the film. Sol Kaplan’s score is melancholy and ominous. It sounds like something out of an anxious thriller. That’s not a criticism. In fact, it helps give some dramatic heft to the back end of the movie, where the narrative is more serious. The soundtrack is much more raucous. Cheap Trick provides the majority of songs, but we also get Van Halen, the Ramones, Jimi Hendrix, and the Cars. Valerie Carter’s “Ooh Child” plays over the end credits and it’s unclear whether it’s meant to be ironic or earnest, generating ambiguity that nevertheless ends the story on a perfect note.
Jonathan Kaplan’s Over the Edge wowed me with its teenage angst and sometimes shocking portrayal of middle-class youth gone wild. The director’s sympathies lie with the not-so-innocent kids, but the adults aren’t all one note, giving the piece some depth. You can tell that Richard Linklater’s Dazed and Confused was heavily influenced by this film and I’d say that Larry Clark’s Kids is another prominent descendent. Highly recommended for fans of cranking up music on your headphones after arguing with your parents, dropping acid before first period, and derailing business deals with firecrackers.
Michael Cavender