No rudder and no wind. Paul does not find a place, plunging into a teenage rampage, now and then rushing to bring him up alone mother or letting off steam in a boxing club, frantically, to exhaustion, shaking a heavy bag with straw guts, saving from his fists those whom he could turn a living gut in search of his own identity, nailing to the company of militant punks, opening his circle to him for communication and unity, which he was so looking for.
The film is gaining momentum, immediately revealing the flaws of its own beginning, where there are no signs before the environment that previously surrounded the Field, highlighting short traces of maternal care and struggle for the trust of the son, seized by thoughts about the motives of the father who turned away from him, whom he seeks out in the backs of passers-by to ask why he was rejected and became rejected.
Now, the origin of the boy is clear, but the source of his sadness is not at all, which deprives the story of social context, limiting it to a series of momentary fragments of teenage protest, born of disappointment in people and in life, deceiving expectations, barely beckoning.
However, even devoid of background, the picture wins due to the dynamic, kaleidoscopic video sequence, like the sweeping, greasy strokes of the artist, gathering in a bright and spectacular canvas of the uneasy existence of a confused young man, seeking and not finding peace, neither in love, nor in drugs, nor in drunken drinking, drowning out the pain of an unnecessary body, unnecessary, because he sees no sense in anything.
There is no sense in guessing that the director cut off Boris Bergman's novel, but he filled his film with a magnificent actor's crowd, dressed in painted jackets, covering the piercing shredded tattooed bodies with heads crowned with a raked haer, recklessly surrendering to rebellion and joy, giving the picture a genuine drive combined with the tragic alienation transmitted by the few-worded dialogues of the mother (the sorcererly Beatrice Dahl) and dangling without cursing (the tragically giving birth to a son), one who passes away from mutual magnetism.
You can blame the film for the obvious plot looseness, behavioral provocativeness, especially daring in the relationship of the coach and his student, the lack of an obvious goal or motivating the protagonist of the ideal specifics – all this will be so, but the actors and director manage to compensate for the conditional content with high emotionality, exposing the nerve of restlessness, despair and powerlessness, with which a disoriented young man, elusively similar to millions of bewildered children, fights.