This film was an accidental find during an impressionable post The Breakfast Club fugue state (this is what happens after a first-time viewing of The Breakfast Club when you're a teen, if you didn't know). There is something inherently attractive about so-called “Generation X” films, or coming-of-age stories. Pump Up The Volume satisfies both of these labels, talking directly to the confused and angry teenager in all of us. It has it’s occasional corny lines, and a plot that is hard to imagine in reality - however, that is exactly what the film is. A fantasy. With a great soundtrack.

This film is not attempting social realism, it’s a form of catharsis for angsty teens. Consider the premise: Mark is a shy and quiet student at a high-school in a suburb in Arizona by day, a sexually explicit, pirate radio monologist at night expressing fundamental frustrations at society. Mark is played by a convincing Christian Slater who dances the fine line between being likeable and demonic. He plays what are essentially two roles - Mark and Happy Hard-On Harry. It’s Harry who starts a micro-revolution at his high-school, but it’s Mark who has to deal with it.

Samantha Mathis plays Nora, a quirky and quietly rebellious student at the same high-school as Mark. Their relationship is based on few words, and yet it comes together in an organic way that fits the world the film inhabits. A surprisingly intimate short scene of extended takes of close-ups of Nora and Mark together at school demonstrate the seemingly misplaced latent skill of the director Allan Moyle. Another example is the amount of grotesque sexual imagery prevalent, including a jumping wind-up penis, a massive paper-machê penis as well as an extended shot of an iguana eating a cockroach alive. Due to these purposeful stylistic decisions, the film seems to be an A-list film that only got a B-list audience, juxtaposing rage with several intimate moments for the characters and audience.

Depression, teen pregnancy, suicide (as well as anger at a broken education system) are touched upon in a manner that is both blunt and delicate at the same time. (If this film was to come out in the politically correct climate of 2015, it would probably have several whiny complaints). This ‘delicate no-holds-barred’ approach to serious issues, and it’s success in the film is down to the script. Consider Harry’s monologue about suicide:

It doesn’t necessarily help, or solve depression or thoughts about suicide, but it presents an interesting, and well-written take on these issues. It’s a surprisingly poetic film, going into it expecting a 90’s teen movie - there’s an occasionally recurring character who never speaks a word, you just see him listening to the pirate radio broadcast. The emotion and fairly well pent-up tension culminates to (depending on how you approach the film) an over-the-top climax, or a deserved ride of glory. I tend to stick to the latter approach.

Pump Up The Volume is a film that at it’s core, plays to the desire of having a responsibility-free, fearless and out-going alter-ego who speaks their mind and gets their message across to masses.
This is a film that is by no means “great”, but definitely under seen and under appreciated as a “Generation X” film, a coming-of-age story and an instance where a film truly rings true to an age group.

*Image Credit: New Line Cinema