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Yes, MF.

Quaid is on fire here. A wounded, driven youngster. It's a great characterization. It's his finest hour.

& the school, scolding, imploring these children to recognize their responsibility to one another and the community using the (fresh entry into the race) as the main tool. Bless the production here, they didn't just drop the entry in from above, they'd sat down and ingeniously set it. Just takes work. And they worked.

& the old man. "Refund! Refund!"

& then the old man telling his son that he isn't a cutter, "I'm a cutter." It's true, yes, but, again it's the blood line that drives these boys, primarily Dave/Mike/Moocher to the actions that manifest during the film.

The old man should not have spoken aloud on that point to Dave. Dave knew it, had seen his father's loss. Christ, we were being shown it, to believe Dave hadn't would be our fault, not the productions. But, Dave wanted to honor his father, he'd prefer it remain a silent honor. Not everything has to be said by (man). But, Dave's father is not perfect, no man is. And we're gloriously shown that in this film. The old man is a grand specimen.

When they finally have their moment toward the end Dave has become a boy again, sadly perhaps for the last time. The old man breaks here and validates his son's humanity. The mother at the sight? Her eyes have crested in tears.

Breaking Away

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It is a good scene in the quarry. & the far away shots of just Paul Dooley conversing about whatever with these men. I love far off shots of stars among the common man. There is a terrific lengthy scene in "Yours, Mine and Ours" with Henry Fonda & Lucille Ball touring San Francisco on a date their characters are on. It's the best part of the film as you see them together as friends, touring this great city and being so loving toward one another. There is a specially fine moment when they're playing boccie ball with the locals. It's fabulous!

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