Francis Ford Coppola's The Outsiders has long been regarded as a coming-of-age drama by serious film enthusiasts, but its allure extends far beyond that label. A rewatch of the film as an adult reveals itself to be a queer, aesthetically-driven exploration of adolescent angst and male camaraderie.
The 1983 adaptation of S.E Hinton's novel is set against the backdrop of social class divisions in Tulsa, Oklahoma, pitting the working-class Greasers against the upper-middle-class Socs. However, beneath its surface-level narrative lies a far more complex web of themes and emotions. The Outsiders is as much about adolescent alienation and rebellion as it is about two groups of teenagers who despise each other.
For many young viewers, particularly those growing up on the 'right' side of the tracks like the author, The Outsiders taps into feelings of marginalization and outsider-ness. It's an unapologetic celebration of teenage angst, where banishment and return become metaphors for the struggle to find one's place in the world.
The film boasts a striking visual aesthetic, with cinematographer Stephen H Burum capturing overexposed sunsets that seem to glow like embers from within. The performances are often raw and unpolished, but it's this very roughness that lends the film its raw emotional power.
One of the most striking aspects of The Outsiders is its treatment of masculinity. The male characters in the film – Johnny, Dallas, Sodapop, Darry, and Two-Bit – exist in a state of almost-forgotten beauty, their rugged features and athletic physiques casting a spell over the viewer.
It's this very same aestheticism that makes The Outsiders feel curiously sexless, despite its inherent homoerotic undertones. Women are relegated to minor roles, with Diane Lane bringing a fleeting sense of passion to her portrayal of Cherry. Meanwhile, the male characters seem to occupy an entire different realm – one where sex is barely even mentioned.
Ultimately, it's this very absence of sex that lends The Outsiders its unique power. Without explicit references or titillating moments, the film turns instead towards an operatic exploration of teenage emotions, with Ponyboy at its centre.
The 1983 adaptation of S.E Hinton's novel is set against the backdrop of social class divisions in Tulsa, Oklahoma, pitting the working-class Greasers against the upper-middle-class Socs. However, beneath its surface-level narrative lies a far more complex web of themes and emotions. The Outsiders is as much about adolescent alienation and rebellion as it is about two groups of teenagers who despise each other.
For many young viewers, particularly those growing up on the 'right' side of the tracks like the author, The Outsiders taps into feelings of marginalization and outsider-ness. It's an unapologetic celebration of teenage angst, where banishment and return become metaphors for the struggle to find one's place in the world.
The film boasts a striking visual aesthetic, with cinematographer Stephen H Burum capturing overexposed sunsets that seem to glow like embers from within. The performances are often raw and unpolished, but it's this very roughness that lends the film its raw emotional power.
One of the most striking aspects of The Outsiders is its treatment of masculinity. The male characters in the film – Johnny, Dallas, Sodapop, Darry, and Two-Bit – exist in a state of almost-forgotten beauty, their rugged features and athletic physiques casting a spell over the viewer.
It's this very same aestheticism that makes The Outsiders feel curiously sexless, despite its inherent homoerotic undertones. Women are relegated to minor roles, with Diane Lane bringing a fleeting sense of passion to her portrayal of Cherry. Meanwhile, the male characters seem to occupy an entire different realm – one where sex is barely even mentioned.
Ultimately, it's this very absence of sex that lends The Outsiders its unique power. Without explicit references or titillating moments, the film turns instead towards an operatic exploration of teenage emotions, with Ponyboy at its centre.
. I mean, come on, it's just a classic tale of kids fighting each other over social class and stuff. The male characters are straight up bros, but they're not exactly having any epic homoerotic moments either 
. And don't even get me started on how the film is "sexless" because women are barely in it - that's just a load of BS. I think Francis Ford Coppola would totally disagree with this analysis and say it's all about rebellion, alienation, and teenage angst... but honestly, I'd take the opposite stance 
.
. I mean, sure, it's got some homoerotic undertones, but is that really enough to make it a queer classic? And what about the women in the film? Cherry, Diane Lane's character, feels like an afterthought, you know? She's just there to add some femininity to the otherwise all-male world of the Greasers. It's like they're saying, "Hey, we've got boys, and that's enough." 
. The film is so obsessed with these macho male characters, it feels like they're trying to prove something about being a man. Newsflash: being a man isn't just about physical strength and aggression, it's also about vulnerability and emotion. 
. But honestly, I think The Outsiders is more about teenage angst than anything else.
... but also, can we talk about how this film's portrayal of masculinity is kinda wild? 
I mean, these guys are so bro-ish, yet at the same time, they're all vulnerable and emotional too 
... anyway, I'm loving how people are dissecting the film's queer undertones now 
... and now that I'm older, it's crazy how much depth there is to this movie. I think what really gets me is how it captures the feeling of being an outsider, you know? Like, Ponyboy's struggles to find his place in Tulsa are still so relatable today 
.
Stephen Burum's cinematography is straight fire. But what I love most is how the film's masculinity is portrayed – it's all these rugged, brooding dudes who feel like they're stuck in this toxic masculinity trap 
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. I think it's actually a pretty straight-forward coming-of-age story about two groups of teens who just don't get along 
. And let's be real, the female characters are barely there at all 
, so it's not like they're really part of the main narrative anyway. The film's power comes from its relatable portrayal of teenage angst and rebellion, not some obscure queer reading 
.
. Inside the circle, we have 2 main groups: Greasers (left side) and Socs (right side). Now, imagine 3 arrows pointing out from both sides... one for alienation, one for rebellion, and one for male camaraderie 
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. And that's what makes it feel sexless, even though there are hints of homoerotic undertones 
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. Like, who even thought it was cool to have such a young cast and just put them in these intense situations? 
But in a way, that absence of sex is what makes the male characters feel more 'human' you know? And the cinematography? 
. Still, it's weirdly sexless - like, where's the romance? 
. And let me tell you, those boys are just so... pretty 
. It's like, we try to sugarcoat all that jazz nowadays and The Outsiders is just over here like, "Nope, we're keeping it real" 
. And don't even get me started on Cherry – she's just so... understated 
. Like, where's her character development? But anywayz, The Outsiders is defo a must-watch for anyone who loves teen angst and all that 
The cinematography is EVERYTHING 
It's wild to think that a coming-of-age drama like The Outsiders could resonate so deeply with audiences across generations 
. I'm loving the aestheticism of this film - have you seen any other movies that capture the same vibe? 
and the acting is raw and real 
. what really gets me is how it portrays masculinity 
. i love how it focuses on teenage angst and emotions instead of, you know, explicit stuff 
. ponyboy is still my spirit animal 
anyway, have you seen The Outsiders?