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Streets of Fire


A mercenary goes after his ex-girlfriend, a singer who has been kidnapped by a gang.

Release Year: 1984

Rating: 6.4/10 (6,958 voted)

Walter Hill

Stars: Michael Paré, Diane Lane, Rick Moranis

Rock and Roll singer is taken captive by a motorcycle gang in a strange world that seems to be a cross of the 1950's and the present or future. Her ex-boyfriend returns to town and to find her missing and goes to her rescue.

Writers: Walter Hill, Larry Gross


Michael Paré

Tom Cody

Diane Lane

Ellen Aim

Rick Moranis

Billy Fish

Amy Madigan


Willem Dafoe

Raven Shaddock

Deborah Van Valkenburgh

Reva Cody

Richard Lawson

Officer Ed Price

Rick Rossovich

Officer Cooley

Bill Paxton

Clyde the Bartender

Lee Ving

Greer – Bomber

Stoney Jackson

Bird – The Sorels

Grand L. Bush

Reggie – The Sorels

Robert Townsend

Lester – The Sorels

Mykelti Williamson

B.J. – The Sorels

(as Mykel T. Williamson)

Elizabeth Daily

Baby Doll

A Rock & Roll Fable.

Release Date: 1 June 1984

Filming Locations: Chicago, Illinois, USA

Box Office Details

Budget: $14,500,000


Gross: $5,600,000

Technical Specs



Did You Know?


Because many of the actors were young enough to be subjected to child labor laws, most of the night scenes were shot during the day, with the set under a tarp.


Incorrectly regarded as goofs:
In Torchie's bar, the stripper's leather mini-skirt briefly "disappears" and then re-appears again before she actually takes it off. The disappearance is actually her lifting the skirt to the audience in the middle of dancing, not taking it off.


Tom Cody:
There's no point in stealing a car if you're not going to wring it out.

User Review

Extraordinary kinetic work

Rating: 8/10

Walter Hill, whose fine directorial achievements include "Hard Times",
"The Warriors", "Southern Comfort", "Crossroads", "Johnny Handsome" and
"Extreme Prejudice", scored another creative bullseye with this
self-proclaimed "rock and roll fable". Though it is simplistic in the
extreme, it is an extraordinarily kinetic work with great music,
stunning cinematography, cutting edge editing (from Hill regular
Freeman Davies) and fantastic production design.

From a purely visual perspective, it was way ahead of its time, and
like most things that were ahead of their time, it flopped badly (at
the box office). So much of the film is worthy of praise — the opening
credit sequence employs a bravura graphic technique that has been much
imitated; the kidnapping of Ellen Aim (Diane Lane) is a stunningly
staged sequence, as is Lane's mimed rendition of Jim Steinman's
fabulous "Tonight Is What It Means To Be Young". The climactic fight
sequence between Michael Pare and Willem Dafoe (in one of his first
screen roles) is magical, as are all the film's scenes of physical

Hill makes mean, lean, muscular movies and populates them with both
fresh faces and screen vets. Michael Pare, who had a limited career, is
just fine as the mythical Tom Cody, the film's reluctant hero (is there
any other?). Dafoe shines as Raven Shaddock, the lead of the
kidnappers, and the MIA Amy Madigan is just terrific as the
tough-talking McCoy, Pare's feisty sidekick.

Andrew Laszlo, who worked with Hill on "Southern Comfort" and even shot
Tobe Hooper's "The Funhouse", does a knockout job with the
cinematography and, working with ace production designer John Vallone
(another Hill reg) creates a magnificent retro universe on the
Universal backlot.

Not to be missed!