They are dubbed so because they always style their hair with grease. From the very beginning of the novel, they have already demonstrated their respective dissatisfaction by labelling the West-side wealthy teenagers as the jet set or Socs, the abbreviation for Socials whereas all boys on the East Side, as greasers.
Just take the conflict between the Socs and Greasers as an example because of the contempt they hold towards each other, three deaths are ensued. All the discrimination and loathing are utterly gratuitous they are two of the peace’s greatest foes. This novel never fails to highlight extreme opposite situations of two contrasting social classes and, it is the emphasis of social class issues that inspires us to learn to accept and understanding the differences of people surrounding us. They have but the “duties of gratitude” which guarantee parents no right …show more content… Hinton, there are several moral values prevailed. On the contrary, Western children are not entitled to such obligation. For instance, it is vital for Chinese children to practice filial piety as it is an essential value of Chinese traditional culture (POŠKAITĖ, 2014) hence, living with parents, regardless of the marital status, is the right thing to do for it is good.
Each culture has its own sets of rules and beliefs to determine what is crucial, trivial, right, wrong, good and bad. Moral values, more often than not, are defined according to the cultural beliefs. The Outsiders is released on 15 October in cinemas and on 8 November on Blu-Ray, DVD and digital platforms.Just like how the idiomatic expression “beauty is in the eyes of the beholder” is perceived, ‘moral values’, to a different person, has a distinct meaning. This is a film that carries you along and there is an added savour in seeing those cherubic faces which have since settled into middle age.
And while they are hiding out there, these kids’ existence achieves a kind of Mark Twain drama and poignancy as they while away the pastoral days, quoting Robert Frost and reading an old paperback book: of all things, Margaret Mitchell’s Gone With the Wind. Johnny ends up in hospital with tragic and sacrificial burn injuries: this may be the poetic justice which cancels out his killing a soc. They hop on to a freight train to the country and hide out in a dangerous abandoned church, where they become heroes in the press for saving some schoolchildren who strayed into the building which then caught fire.
When Johnny and Ponyboy kill a soc in self-defence, seasoned tough guy Dally gives them cash and tells them how to make a getaway. The greasers are the heroes: tearaway Dally ( Matt Dillon), Johnny ( Ralph Macchio), Darry (Patrick Swayze), Sodapop (Rob Lowe) and Steve (Tom Cruise). Class and caste divides them: they are the outsiders and the insiders. But this isn’t exactly a tale of star-crossed lovers and the gangs aren’t both alike in dignity. One of the greasers, Ponyboy Curtis (C Thomas Howell) is poignantly in love with a sweet girl, Cherry Valance ( Diane Lane), who hangs out with the socs. There is a not-so-hidden racism in the socs’ loathing of the greasers who are often from an Italian background. In Tulsa, Oklahoma in the early 1960s, there are two gangs, the greasers and the socs – derived from “socials”, the posher, Wasp kids whose parents can afford to join social clubs. And The Outsiders feels very different from the companion-piece Rumble Fish that Coppola made afterwards with much of the same cast, co-written again with novelist SE Hinton.
It is a movie with the heartfelt old-fashioned urgency of a Hollywood film from much further back, with the Brat Pack in this film the equivalent of the Dead End Kids who made Angels With Dirty Faces in the 1930s. L ike a rock’n’roll power chord, Francis Ford Coppola’s 1983 teen gangs melodrama The Outsiders comes crashing back on screen, in a longer “complete novel” cut.