Streets of Fire



Streets of Fire is a 1984 film directed by Walter Hill and co-written by Hill and Larry Gross. It was described in previews, trailers, and posters as "A Rock & Roll Fable". It is an unusual mix of musical, action, drama, and comedy with elements both of retro-1950s and 1980s. The film stars Michael Paré as a soldier of fortune who returns home to rescue his ex-girlfriend (Diane Lane) who has been kidnapped by Raven (Willem Dafoe). Some of the film was shot on the backlot of Universal Studios in California on two large, elaborate sets covered in a tarp 1,240 feet long by 220 feet wide so that night scenes could be filmed during the day.

The film was promoted as a summer blockbuster but failed critically and commercially, grossing only US$8 million in North America, compared to a production budget of $14.5 million. However, its dynamic musical score by Jim Steinman, Ry Cooder, and others, as well as the hit Dan Hartman song "I Can Dream About You", has helped it attain a cult following.



Contents
[hide]  *1 Plot  ==Plot[edit] == In an unnamed city, Ellen Aim (Lane), lead singer of Ellen Aim and The Attackers, has returned home to give a concert. The Bombers, a biker gang, led by Raven Shaddock (Dafoe), enter the auditorium and kidnap her.
 * 2 Cast
 * 3 Production
 * 3.1 Casting
 * 3.2 Locations
 * 3.3 Principal photography
 * 4 Soundtrack
 * 4.1 Track listing
 * 5 Reaction
 * 5.1 Critical reception
 * 6 Awards and nominations
 * 6.1 Awards
 * 6.2 Nominations
 * 7 Possible sequels and Road to Hell
 * 8 References
 * 9 External links

Witnessing all of this is Reva Cody (Van Valkenburgh), who wires her brother Tom Cody (Paré), an ex-soldier and Ellen's ex-boyfriend, to rescue her. Tom returns and, after taking Reva home, checks out the local tavern, the Blackhawk, where Clyde (Paxton) tends bar. He is annoyed by a tomboyish ex-soldier named McCoy (Madigan), a mechanic who "could drive anything" and who is good with her fists, as evidenced when she knocks out Clyde. They leave the bar and McCoy asks Tom for a place to stay for the night. That night, Tom and Reva plan to rescue Ellen; Reva is to contact Billy Fish (Moranis), Ellen's manager and current boyfriend, to meet at the diner in the morning.

While Reva and McCoy go to the diner to wait for Billy, Tom acquires a cache of weapons, including a pump action shotgun, a revolver, and a lever action rifle. Tom and Billy meet at the diner and Tom agrees to the rescue for $10,000, and that Billy goes with Tom back into "the Battery" to get Ellen. Tom hires McCoy to drive.

In the Battery, they visit Torchie's, where Billy used to book bands. They wait until nightfall under an overpass, watching bikers come and go. Raven has Ellen tied up in an upstairs bedroom. As Tom, Billy, and McCoy approach, Tom directs Billy to get the car and be out front in fifteen minutes.

Ellen Aim and the Attackers.McCoy enters and is stopped by one of the Bombers. McCoy, pretending to like him, follows him to his special "party room," close to where Raven is playing poker. McCoy knocks out the biker. Tom finds a window in the building across from the bar directly across from Ellen's window and, for a distraction, starts shooting the gas tanks on the motorcycles; he then reaches Ellen's room, cuts her free and, with McCoy's help, escapes just as Billy arrives at the front door.

As the others jump into the convertible, Tom sends them off to meet at the Grant Street Overpass, then blows up the gas pumps outside the bar. Raven appears out of the flames and chaos to confront Tom. After learning who he is, Raven warns he will be back for Ellen and for him, too. Tom escapes on the one intact motorcycle. Billy is persuading Ellen the only reason her ex-boyfriend rescued her was for money. Tom returns as McCoy explains to Billy that Tom used to be Ellen's boyfriend.

Ditching the street rod in a parking garage, Ellen follows Tom up the stairs while Billy and McCoy take the elevator. Ellen and Tom fight as Billy and McCoy go back and forth once again about Tom and Ellen's love affair. When they all meet up on the street, they are in the Battery. They return Ellen safely home where she initially rejects her home town as well as Tom. Later, he goes to the hotel where Ellen and Billy are staying to collect his reward. He only takes McCoy's cut and throws the rest in Billy's face. He then tells Ellen that there was a time he would've done anything for her but no more. As Tom storms out, Ellen follows and the two embrace in the rain.

Meanwhile, Raven informs Officer Ed Price (Lawson), the head of the police department, that he wants Tom to meet him alone. If he agrees he will leave the Richmond alone. Price tells Tom to get out of town. Tom, Ellen, and McCoy leave on a train. He knocks out Ellen and returns to town for a climactic battle with Raven. Tom defeats Raven and the defeated gang carries their leader away. Later that night, Tom says a final goodbye to Ellen and rides off with McCoy. ==Cast[edit] == ==Production[edit] == The concept for Streets of Fire came together during the making of ''[http://en.wikipedia.org/wiki/48_Hrs. 48 Hrs.]'' and reunited director Walter Hill with producers Lawrence Gordon and Joel Silver, and screenwriter Larry Gross, all of whom worked together on that production.<sup class="reference" id="cite_ref-gentry_1-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[1]  According to Hill, the film's origins came out of a desire to make what he thought was a perfect film when he was a teenager and put in all of the things that he thought were "great then and which I still have great affection for: custom cars, kissing in the rain, neon, trains in the night, high-speed pursuit, rumbles, rock stars, motorcycles, jokes in tough situations, leather jackets and questions of honor".<sup class="reference" id="cite_ref-production_notes_2-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[2]
 * Michael Paré as Tom Cody
 * Diane Lane as Ellen Aim
 * Rick Moranis as Billy Fish
 * Amy Madigan as McCoy
 * Willem Dafoe as Raven Shaddock
 * Elizabeth Daily as Baby Doll
 * Deborah Van Valkenburgh as Reva Cody
 * Richard Lawson as Officer Ed Price
 * Rick Rossovich as Officer Cooley
 * Bill Paxton as Clyde the Bartender
 * Lee Ving as Greer
 * Stoney Jackson as Bird, of The Sorels
 * Grand L. Bush as Reggie, of The Sorels
 * Robert Townsend as Lester, of The Sorels
 * Mykelti Williamson as B.J., of The Sorels
 * Lynne Thigpen as a Subway Motorwoman
 * Marine Jahan as a Dancer at Torchie's
 * Ed Begley, Jr. as Ben Gunn
 * John Dennis Johnston as Pete the Mechanic

<p style="margin-top:0.4em;margin-bottom:0.5em;line-height:19.200000762939453px;color:rgb(0,0,0);font-family:sans-serif;font-size:13px;">The four men began planning Streets of Fire while completing 48 Hrs. Afterwards, Gross and Hill worked on the screenplay, writing ten pages a day. When they were finished, they submitted the script to Universal executive Bob Rehme on a Friday (in January 1983) and by the end of the weekend, the studio had given them the go-ahead to make the film.<sup class="reference" id="cite_ref-production_notes_2-1" style="line-height:1em;unicode-bidi:-webkit-isolate;">[2] <sup class="reference" id="cite_ref-crawley_3-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[3]

<p style="margin-top:0.4em;margin-bottom:0.5em;line-height:19.200000762939453px;color:rgb(0,0,0);font-family:sans-serif;font-size:13px;">The film's title came from a song written and recorded by Bruce Springsteen on his 1978 album Darkness on the Edge of Town.<sup class="reference" id="cite_ref-chute_4-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[4] <sup class="reference" id="cite_ref-5" style="line-height:1em;unicode-bidi:-webkit-isolate;">[5]  Negotiations with Springsteen for rights to the song delayed production several times.<sup class="reference" id="cite_ref-gentry_1-1" style="line-height:1em;unicode-bidi:-webkit-isolate;">[1]  Originally, plans were made for the song to be featured on the film's soundtrack, to be sung by Ellen Aim at the end of the film, but when he was told that the song would be re-recorded by other vocalists, he withdrew permission for the song to be used.<sup class="reference" id="cite_ref-chute_4-1" style="line-height:1em;unicode-bidi:-webkit-isolate;">[4]  Jim Steinman was brought in to write the opening and closing songs and "Streets of Fire" was replaced by "Tonight Is What It Means to Be Young".<sup class="reference" id="cite_ref-gentry_1-2" style="line-height:1em;unicode-bidi:-webkit-isolate;">[1]  The studio claimed that they replaced Springsteen's song because it was a "downer".<sup class="reference" id="cite_ref-chute_4-2" style="line-height:1em;unicode-bidi:-webkit-isolate;">[4] ===Casting<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;padding-right:0.25em;unicode-bidi:-webkit-isolate;">[edit] === Amy Madigan as McCoy and Michael Paré as Tom Cody<p style="line-height:19.200000762939453px;color:rgb(0,0,0);font-family:sans-serif;font-size:13px;">When it came to casting the movie, Hill wanted to go with a young group of relative unknowns. He heard about Michael Paré from the same agent who recommended Eddie Murphy to him for 48 Hrs.<sup class="reference" id="cite_ref-production_notes_2-2" style="line-height:1em;unicode-bidi:-webkit-isolate;">[2]  At the time he was cast, in March 1983, the actor had appeared in two films, Eddie and the Cruisers and Undercover, which hadn’t even been released.<sup class="reference" id="cite_ref-6" style="line-height:1em;unicode-bidi:-webkit-isolate;">[6]  For Hill, Paré "had the right quality. He was the only actor I found who was right for the part ...a striking combination of toughness and innocence."<sup class="reference" id="cite_ref-production_notes_2-3" style="line-height:1em;unicode-bidi:-webkit-isolate;">[2]  Paré said of his character, "He's someone who can come in and straighten everything out."<sup class="reference" id="cite_ref-production_notes_2-4" style="line-height:1em;unicode-bidi:-webkit-isolate;">[2]

<p style="margin-top:0.4em;margin-bottom:0.5em;line-height:19.200000762939453px;color:rgb(0,0,0);font-family:sans-serif;font-size:13px;">The character of Ellen Aim was written as a 28-year-old woman and Diane Lane read for the part when she was 18.<sup class="reference" id="cite_ref-gentry_1-3" style="line-height:1em;unicode-bidi:-webkit-isolate;">[1]  Hill was reluctant to cast her because he felt that she was too young for the role. Hill met Lane in New York City and she auditioned for him in black leather pants, a black mesh top and high-heeled boots. He was surprised with her "total commitment to selling herself as a rock 'n' roll star".<sup class="reference" id="cite_ref-gentry_1-4" style="line-height:1em;unicode-bidi:-webkit-isolate;">[1]  The actress had been in more than 10 films by the time she did Streets of Fire. She described her character as "the first glamorous role I've had".<sup class="reference" id="cite_ref-production_notes_2-5" style="line-height:1em;unicode-bidi:-webkit-isolate;">[2]  Hill was so impressed with her work on the film that he wrote additional scenes for her during the shoot.<sup class="reference" id="cite_ref-production_notes_2-6" style="line-height:1em;unicode-bidi:-webkit-isolate;">[2]  Amy Madigan originally read for Reva, Cody's sister, and told Hill and Silver that she wanted to play the role of McCoy which, she remembers, "was written to be played by an overweight male who was a good soldier and really needed a job. It could still be tough and strong and have a woman do it without rewriting the part."<sup class="reference" id="cite_ref-production_notes_2-7" style="line-height:1em;unicode-bidi:-webkit-isolate;">[2] <sup class="reference" id="cite_ref-crawley_3-1" style="line-height:1em;unicode-bidi:-webkit-isolate;">[3]  Hill liked the idea and cast her.<sup class="reference" id="cite_ref-production_notes_2-8" style="line-height:1em;unicode-bidi:-webkit-isolate;">[2] ===Locations<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;padding-right:0.25em;unicode-bidi:-webkit-isolate;">[edit] === <p style="line-height:19.200000762939453px;color:rgb(0,0,0);font-family:sans-serif;font-size:13px;">Production began on location in Chicago in April 1983, then moved to Los Angeles for 45 days and finally two weeks at a soap factory in Wilmington, California, with additional filming taking place at Universal Studios. Shooting wrapped on August 18, 1983.<sup class="reference" id="cite_ref-production_notes_2-9" style="line-height:1em;unicode-bidi:-webkit-isolate;">[2]  All ten days of filming in Chicago were exteriors at night on locations that included platforms of elevated subway lines and the depths of Lower Wacker Drive. For Hill, the subways and their look was crucial to the world of the film and represented one of three modes of transportation—the other two being cars and motorcycles.<sup class="reference" id="cite_ref-production_notes_2-10" style="line-height:1em;unicode-bidi:-webkit-isolate;">[2] While shooting in Chicago, the production was plagued by inclement weather that included rain, hail, snow, and a combination of all three. The subway scenes were filmed on location in Chicago at many locations, including: LaSalle Street (Blue line), Lake Street (Green line), Sheridan Road (Red, Purple lines), and Belmont Avenue (Red, Brown, and Purple lines). The Damen Avenue stop (Blue Line, at Damen, North, and Milwaukee Avenues) was also used.<sup class="reference" id="cite_ref-production_notes_2-11" style="line-height:1em;unicode-bidi:-webkit-isolate;">[2]

<p style="margin-top:0.4em;margin-bottom:0.5em;line-height:19.200000762939453px;color:rgb(0,0,0);font-family:sans-serif;font-size:13px;">Production designer John Vallone and his team constructed an elevated train line on the backlot of Universal Studios that perfectly matched the ones in Chicago.<sup class="reference" id="cite_ref-gentry_1-5" style="line-height:1em;unicode-bidi:-webkit-isolate;">[1]  The film crew tarped-in the New Street and Brownstone street sets to double for the Richmond District setting, completely covering them so that night scenes could be filmed during the day. This tarp measured 1,240 feet long by 220 feet wide over both sets and cost $1.2 million to construct.<sup class="reference" id="cite_ref-gentry_1-6" style="line-height:1em;unicode-bidi:-webkit-isolate;">[1]  However, this presented unusual problems. The sound of the tarp flapping in the wind interfered with the actors’ dialogue. Birds who had nested in the tarp provided their own noisy interruptions.<sup class="reference" id="cite_ref-production_notes_2-12" style="line-height:1em;unicode-bidi:-webkit-isolate;">[2]

<p style="margin-top:0.4em;margin-bottom:0.5em;line-height:19.200000762939453px;color:rgb(0,0,0);font-family:sans-serif;font-size:13px;">The exterior of the Richmond Theater where Ellen Aim sings at the beginning of the film was shot on the backlot with the interior done in the Wiltern Theater in L.A. for two weeks.<sup class="reference" id="cite_ref-production_notes_2-13" style="line-height:1em;unicode-bidi:-webkit-isolate;">[2]  The factory scenes that take place in the Battery were filmed at a rotting soap factory in Wilmington, California, for ten nights. The Ardmore Police roadblock was filmed near 6th street in East Los Angeles near the flood basin. Though only three districts are seen, the city has a total of five districts: the Richmond, the Strip, the Battery, the Cliffside, and the Bayside.<sup class="reference" id="cite_ref-production_notes_2-14" style="line-height:1em;unicode-bidi:-webkit-isolate;">[2] ===Principal photography<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;padding-right:0.25em;unicode-bidi:-webkit-isolate;">[edit] === <p style="line-height:19.200000762939453px;color:rgb(0,0,0);font-family:sans-serif;font-size:13px;">The production employed 500 extras to play the citizens of the Richmond District.<sup class="reference" id="cite_ref-production_notes_2-15" style="line-height:1em;unicode-bidi:-webkit-isolate;">[2]  Cinematographer Andrew Laszlo shot the film with very low light, giving the images a stark, "low-tech" quality. The choreography for the two songs Ellen Aim sings and the one by the Sorels was done by Jeffrey Hornaday.<sup class="reference" id="cite_ref-production_notes_2-16" style="line-height:1em;unicode-bidi:-webkit-isolate;">[2]  The lighting for these concert scenes were done by Mark Brickman, who also lit concerts for Bruce Springsteen and Pink Floyd. The car that Cody drives in the movie is a 1951 Mercury that was chopped, channeled, nosed, and decked.<sup class="noprint Inline-Template" style="line-height:1em;white-space:nowrap;">[clarification needed]  In addition, 12 1950 and 1951 model Studebakers were used as police cars.<sup class="reference" id="cite_ref-production_notes_2-17" style="line-height:1em;unicode-bidi:-webkit-isolate;">[2]  More than 50 motorcycles and their drivers were featured as the Bombers and were chosen from 200 members of real L.A.-based clubs like The Crusaders and The Heathens.<sup class="reference" id="cite_ref-gentry_1-7" style="line-height:1em;unicode-bidi:-webkit-isolate;">[1]

<p style="margin-top:0.4em;margin-bottom:0.5em;line-height:19.200000762939453px;color:rgb(0,0,0);font-family:sans-serif;font-size:13px;">According to cinematographer Andrew Laszlo, the film's style was dictated by the story.<sup class="reference" id="cite_ref-gentry_1-8" style="line-height:1em;unicode-bidi:-webkit-isolate;">[1]  The Richmond's look was very soft and the colors did not call attention to themselves. The light in The Battery was contrasting and harsh, with vivid colors. Argyle prints and plaids are used in the Parkside District, and neon lights color the Strip.<sup class="reference" id="cite_ref-gentry_1-9" style="line-height:1em;unicode-bidi:-webkit-isolate;">[1]

<p style="margin-top:0.4em;margin-bottom:0.5em;line-height:19.200000762939453px;color:rgb(0,0,0);font-family:sans-serif;font-size:13px;">Due to the choreography and setups in between takes of every scene, the climactic 4-minute showdown between Cody and Raven took more than nine days to shoot.<sup class="reference" id="cite_ref-gentry_1-10" style="line-height:1em;unicode-bidi:-webkit-isolate;">[1] ==Soundtrack<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;padding-right:0.25em;unicode-bidi:-webkit-isolate;">[edit] == <p style="line-height:19.200000762939453px;color:rgb(0,0,0);font-family:sans-serif;font-size:13px;">Jimmy Iovine produced five of the songs for the film and the soundtrack album.<sup class="reference" id="cite_ref-production_notes_2-18" style="line-height:1em;unicode-bidi:-webkit-isolate;">[2]  For Ellen Aim's singing voice, he combined the voices of Laurie Sargent and Holly Sherwood, billing them as "Fire Incorporated." The Attackers were the real-life (Face to Face) bandmates of Sargent, who provided the lead vocals on Ellen Aim's songs "Never Be You" and "Sorcerer" and supporting vocals on "Tonight Is What It Means to Be Young."<sup class="reference" id="cite_ref-production_notes_2-19" style="line-height:1em;unicode-bidi:-webkit-isolate;">[2]  The version of "Sorcerer," written and composed by Stevie Nicks, that was featured on the actual soundtrack album was performed byMarilyn Martin.

<p style="margin-top:0.4em;margin-bottom:0.5em;line-height:19.200000762939453px;color:rgb(0,0,0);font-family:sans-serif;font-size:13px;">Two Wagnerian rock songs written by Jim Steinman were part of the soundtrack: "Tonight Is What It Means to Be Young" and "Nowhere Fast," both performed by "Fire Incorporated" withHolly Sherwood as lead vocal. The title of the former was used as the tagline on some promotional materials for the film.<sup class="reference" id="cite_ref-production_notes_2-20" style="line-height:1em;unicode-bidi:-webkit-isolate;">[2]  Daniel Earl "Dan" Hartman's selection "I Can Dream About You" is the most successful song from this movie and became a Billboard top 10 hit in 1984 (also from his studio album of the same name). In the movie, the song is performed on stage, at the end of the film, by "The Sorels," a fictional doo-wop style group consisting of actors Stoney Jackson, Grand L. Bush, Mykelti Williamson, and Robert Townsend.<sup class="reference" id="cite_ref-production_notes_2-21" style="line-height:1em;unicode-bidi:-webkit-isolate;">[2]  However, the song was actually sung for the film by Winston Ford, whose vocals were convincingly lip-synchronized by Jackson in the movie. There are thus two versions of the song, but the most popular was sung by Dan Hartman for commercial release. Ford's full version had not been released commercially as of the middle of November 2013. ===Track listing<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;padding-right:0.25em;unicode-bidi:-webkit-isolate;">[edit] === ==Reaction<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;padding-right:0.25em;unicode-bidi:-webkit-isolate;">[edit] == <p style="line-height:19.200000762939453px;color:rgb(0,0,0);font-family:sans-serif;font-size:13px;">Streets of Fire fared poorly at the box office, opening in 1,150 theaters on June 1, 1984, and grossing US$2.4 million.<sup class="reference" id="cite_ref-boxoffice_7-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[7]  After ten days it made $4.5 million while Star Trek III: The Search for Spock grossed $34.8 million in the same time.<sup class="reference" id="cite_ref-chute_4-3" style="line-height:1em;unicode-bidi:-webkit-isolate;">[4]  The film went on to make $8 million in North America, compared to a production budget of $14.5 million.<sup class="reference" id="cite_ref-boxoffice_7-1" style="line-height:1em;unicode-bidi:-webkit-isolate;">[7]  It retains a cult following today, in part due to its Wagnerian rock soundtrack. ===Critical reception<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;padding-right:0.25em;unicode-bidi:-webkit-isolate;">[edit] === <p style="line-height:19.200000762939453px;color:rgb(0,0,0);font-family:sans-serif;font-size:13px;">The film received mostly negative reviews from critics when it was first released. It had a 60% rating on Rotten Tomatoes as of the middle of November 2013.
 * 1) Fire Incorporated – "Nowhere Fast" 6:02
 * 2) Marilyn Martin – "Sorcerer" 5:06
 * 3) The Fixx – "Deeper and Deeper" 3:45
 * 4) Greg Phillinganes – "Countdown to Love" 3:00
 * 5) The Blasters – "One Bad Stud" 2:28
 * 6) Fire Incorporated – "Tonight Is What It Means to Be Young" 6:58
 * 7) Maria McKee – "Never Be You" 4:06
 * 8) Dan Hartman – "I Can Dream About You" 4:07
 * 9) Ry Cooder – "Hold That Snake" 2:36
 * 10) The Blasters – "Blue Shadows" 3:17

<p style="margin-top:0.4em;margin-bottom:0.5em;line-height:19.200000762939453px;color:rgb(0,0,0);font-family:sans-serif;font-size:13px;">Janet Maslin of The New York Times criticized the film's screenplay as being misogynistic and "problematically crude."<sup class="reference" id="cite_ref-Maslin.2C_Janet_9-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[9]

<p style="margin-top:0.4em;margin-bottom:0.5em;line-height:19.200000762939453px;color:rgb(0,0,0);font-family:sans-serif;font-size:13px;">Gary Arnold wrote, in the Washington Post, that as "romantic leads, Paré and Lane are pretty much a washout," and that "most of the action climaxes are treated as such throwaways that you begin to wonder if they bored the director."<sup class="reference" id="cite_ref-Arnold.2C_Gary_10-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[10]

<p style="margin-top:0.4em;margin-bottom:0.5em;line-height:19.200000762939453px;color:rgb(0,0,0);font-family:sans-serif;font-size:13px;">Jay Scott wrote, in The Globe and Mail newspaper, that "when Streets of Fire is speeding by like Mercury on methedrine, the rush left in its wake cancels out questions of content. But the minute the momentum slows, it's another story—a story about a movie with no story at all."<sup class="reference" id="cite_ref-Scott.2C_Jay_11-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[11]

<p style="margin-top:0.4em;margin-bottom:0.5em;line-height:19.200000762939453px;color:rgb(0,0,0);font-family:sans-serif;font-size:13px;">In a lengthy essay for Film Comment, David Chute wrote, "It's probably impossible not to enjoy the movie. No director holds a candle to Hill for sheer visceral expertise. But the moods didn't linger. It's such a hard-shelled picture that it barely has moods."<sup class="reference" id="cite_ref-chute_4-4" style="line-height:1em;unicode-bidi:-webkit-isolate;">[4]

<p style="margin-top:0.4em;margin-bottom:0.5em;line-height:19.200000762939453px;color:rgb(0,0,0);font-family:sans-serif;font-size:13px;">However, Roger Ebert, in his Chicago Sun-Times review, praised the film's dialogue. He wrote that "the language is strange, too: It's tough, but not with 1984 toughness. It sounds like the way really mean guys would have talked in the late 1950s, only with a few words different--as if this world evolved a slightly different language."<sup class="reference" id="cite_ref-Ebert.2C_Roger_12-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[12] ==Awards and nominations<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;padding-right:0.25em;unicode-bidi:-webkit-isolate;">[edit] == ===Awards<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;padding-right:0.25em;unicode-bidi:-webkit-isolate;">[edit] === <p style="line-height:19.200000762939453px;color:rgb(0,0,0);font-family:sans-serif;font-size:13px;">Kinema Junpo Awards

<p style="line-height:19.200000762939453px;color:rgb(0,0,0);font-family:sans-serif;font-size:13px;">Sitges Film Festival
 * Best Foreign Language Film—Readers' choice: 1985<sup class="Template-Fact" style="line-height:1em;white-space:nowrap;">[citation needed]

===Nominations<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;padding-right:0.25em;unicode-bidi:-webkit-isolate;">[edit] === <p style="line-height:19.200000762939453px;color:rgb(0,0,0);font-family:sans-serif;font-size:13px;">Golden Raspberry
 * Best Actress: Amy Madigan (1984)<sup class="reference" id="cite_ref-13" style="line-height:1em;unicode-bidi:-webkit-isolate;">[13]

==Possible sequels and Road to Hell<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;padding-right:0.25em;unicode-bidi:-webkit-isolate;">[edit] == <p style="line-height:19.200000762939453px;color:rgb(0,0,0);font-family:sans-serif;font-size:13px;">Streets of Fire was intended to be the first in a projected trilogy called "The Adventures of Tom Cody" with Hill tentatively titling the two sequels The Far City and Cody's Return.<sup class="reference" id="cite_ref-gentry_1-11" style="line-height:1em;unicode-bidi:-webkit-isolate;">[1]  However, the film's eventual failure at the box office put an end to the project.<sup class="reference" id="cite_ref-boxoffice_7-2" style="line-height:1em;unicode-bidi:-webkit-isolate;">[7]  In an interview, shortly after the film's release, Paré said, "Everyone liked it, and then all of a sudden they didn't like it. I was already worried about whether I should do the sequel or not."<sup class="reference" id="cite_ref-latimes_15-0" style="line-height:1em;unicode-bidi:-webkit-isolate;">[15]  An unofficial sequel calledRoad to Hell was made in 2008 directed by Albert Pyun and with Paré playing Cody.
 * Worst Supporting Actress: Diane Lane (1984)<sup class="reference" id="cite_ref-14" style="line-height:1em;unicode-bidi:-webkit-isolate;">[14]