bkoganbing Growing up in Brooklyn in the 50s people like the 4 guys who are our protagonists here were a common sight, they were the older generation by a half for someone born in 1947. The Lords Of Flatbush were Perry King, Sylvester Stallone, Henry Winkler and Paul Mace. Every high school had them, kids like these who populated The Blackboard Jungle. As you will note two of the four had some substantial careers on the big and small screens. For Henry Winkler this part was a dress rehearsal for Arthur Fonzarelli. And Rocky was in the distant future for Sylvester Stallone.Part of it in the 50s is that many thought there was no future as the threat of nuclear annihilation stood over us. So just go out and have a great old time because there will be no responsibilities for you to assume. That underlay a lot of the thinking then.There's no real plot in Lords Of Flatbush, it's a a character study of four knockabout guys who can't see a future beyond their good times. At least one of them does in the end, I will not say who.One really glaring fault was the scene at the drive-in movie. First of all From Here To Eternity was out five years earlier than 1958 when this film is supposed to take place. Secondly though there were no drive-ins in the Borough of Brooklyn, I can attest to that. In that same year I was introduced to the concept of the drive-in, but I had to go upstate to experience it.Susan Blakely also got her first notice in The Lords Of Flatbush. What she tells Perry King in the end if the message if any this film has.

copper1963 Cool Jackets. Cool Script. Cool Poster. What more do you need? A story would be nice. Technicalities. Blown up from a 16mm print, Director Stephen Verona's earthy look at 50's teenagers warrants another viewing. I saw this movie many moons ago, as a skiff made from nostalgia begins to creep over me like fog from the shores of Coney Island. In the 70's, as a kid, I was heavily into the music and the culture of that period. Three quarter's of our greasy gang, "The Lords of Flatbush," went onto bigger and better things. Two of them became superstars. One died. When I saw the do-wop trailer on the DVD, I was transported back in time to when I was eleven years old again. It also brokered memories of those Crazy Eddie's commercials: the one, in particular, with the five greasers singing do-wop in a high school boys' restroom, which played endlessly on New York City's local television stations back then. My favorite scene (in the movie) is the one involving the verbal exchange between Henry Winkler's character and the owner of the candy store. It's the best acted scene in the picture--and the most poignant. We find out that Winkler has the smarts and the talent (he's an artist) to escape the neighborhood. I'm a sucker for this kind of stuff. A young Sly Stallone is excellent as well. He has many of the flashier scenes in the film. I believe he wrote that showy, somewhat out of place, scene, toward the end of the picture, with Perry King and Stalone's pigeon coop featured prominently. It's more than a little obvious. Afterall, he did get screen credit for writing "additional dialog." Stalone's whiny fiancé is a riot. Her accent--devoid of "r"s--is right on pitch. Susan Blakely is a tease. The worst sought of turn-off for a teenage boy. King deserves better. If you are looking for a slick coming-of-age flick here you may wish to skip this movie. However, with an open mind and some wistful thoughts, you may be entertained for ninety minutes. Go for it.

vitaleralphlouis When LORDS OF FLATBUSH was made Columbia Pictures was still a free corporate entity, still a smaller Hollywood studio, and still the all time champion at winning Best Picture of the Year Oscars. But it had just endured a couple of years of dreadful mismanagement, making awful and expensive re-makes of their classics and other expensive duds. They were hundreds of millions in debt and on the verge of bankruptcy.Into this scene comes David Begelman, one of the most harshly criticized studio heads in history (for forging a $2000 check, of all things). Begelman made Lords of Flatbush and several other low-to-medium budget pictures, all of which were cleverly marketed and well received by the public. Within a few years, Columbia Pictures repaid its debt and soared into profitability. Shares went from under $2 to the $78 per share --- at which time Coca Cola swallowed up Columbia and the independent, scrappy spirit fell away, as did their quality. Now swallowed again, this time by Sony, they'd never again have real spirit (unless you think Spiderman is a good movie.) FLATBUSH brought us Sly Stallone, Henry Winkler, Susan Blakely; and in the long-run was the turning point for Columbia.

edwagreen Absolutely inane film dealing with a bunch of street hooligans who show their immaturity and lack of respect.The only good thing about this farce is that there is no violence.Perry King, who has gone on to become the king of television movies, plays Chico, riding around on his motorcycle and going nowhere quickly as is the case with this film.Talk of stereotyping. The film is demeaning to Italian-Americans. Annie and Frannie are the 2 prototypes for LaVerne and Shirley.Sylvester Stallone is gifted at playing hunks with IQ's around 2.The plot here is thin and the writing is even worse. The sound sounds like it is coming out of your local luncheonette.Topics such as teen pregnancy, fighting, unruly behavior in school, and the coming of age are poorly dealt with.Frannie wants to marry the Stallone character so they can watch American Bandstand together. The film suffers from a complete lack of maturity and should define itself as the coming of ignorance.