Matt Dillon is an actor who has long been one of cinema’s most accomplished, starring in a number of highly-acclaimed and award-winning films, including the sexy Wild Things (above), the controversial 2004 drama Crash, and the mega-successful gross-out comedy There’s Something About Mary (1998). These days, while he’s made many appearances on television and landed roles mostly in smaller action films, his legacy remains secure, and much of that stems from his great work in the 1980s. Yup, Dillon was a breakout star in that decade, starring in a string of popular films, though a we’re willing to bet a few of them you’ve never seen or even heard of. Here are 5 times Matt Dillon ruled the 80s.
The Outsiders
The novel of the same name by S. E. Hinton was already a popular but very controversial book for nearly twenty years before Francis Ford Coppola adapted it for the screen in 1983, it’s themes of gangs, violence, underage smoking and broken homes a major point of contention during a time of drastic change in the United States. The story follows a gang of greasers, tough teens from low income families finding value and purpose in their close-knit group, who find themselves facing real trouble when one of their members, Johnny (Ralph Macchio), finds himself on the run after he’s done something very bad. Dillon is Dallas “Dally” Winston, joining a young cast soon to be world famous, including Patrick Swayze, Emilio Estevez, Rob Lowe, and Tom Cruise, and while making an impression among such a ensemble would seem impossible, Dillon is easily the most at home in the part, his gritty good looks and dynamic presence making him a standout and reason why Coppola recast him immediately in his next project. Speaking of which.
RUMBLE FISH
A little seen but very entertaining 1983 movie, again a Coppola-adapted film from the novel of the same name by S. E. Hinton, this one follows closely to the former with themes of youth violence and coming of age. This time, Dillon is the main star, Rusty James, acting opposite Mickey Rourke, who plays his slightly older brother, a former gang leader named Motorcycle Boy who has a much-feared reputation. Thing is, he’s left that life and wants to live in peace, but Rusty wants in with the toughies, choosing to earn the same rep as his older brother. A stylistic drama filmed mostly in black & white with flourishes of color, mixed with a highly unconventional score from The Police drummer Stewart Copeland, this is a terrific little film with a great turn from Dillon, though audiences wholly abandoned it on release. Too bad because it’s still a daring, evocative experience unlike anything you’ve probably seen before. Probably why it tanked. Dillon, however, was still winning fans and earning praise.
THE FLAMINGO KID
Let’s lighten things up a bit. By 1984, Dillon was a bonafide Hollywood sex symbol, a highly-sought after young star with the looks and charms to win over anyone, even if his films weren’t box office hits yet. Steering far from the drama of the Coppola films, he next joined another legendary writer/director, Garry Marshall, in this comedy about a working class kid who takes a summer job at a high-end resort and gets a few life lessons along the way. Dillon is Jeffrey Willis, a directionless boy fresh out of high school who gets caught up in the glamour and challenge of the El Flamingo Club, where he is hired as a cabana boy, playing Gin rummy with the local best, Phil (Richard Crenna), who seems to have big plans for the charming employee. Meanwhile, Jeffrey meets the stunning Carla Smason (Janet Jones), the girl of his dreams who further lures him from the life his father (Hector Elizondo) warned him stay away from. Sounds like fluff, but in truth, this is a funny and touching film with a winning turn from Dillon. The film did great at the box office and suddenly Dillon was gold.
TARGET
The following year, what should have been the breakout one where Dillon would be catapulted to superstardom, things sort of settled down. He was cast opposite Gene Hackman, one of the most enduring and successful actors in cinema history, playing his son Chris. In the story, they are slightly estranged, Chris working at a race track and his father Walter in lumber. One day, Chris’ mother (Gayle Hunnicutt) travels to Paris but soon disappears, leading her husband and son to come after her. While on the hunt, Walter reveals characteristics Chris doesn’t recognize and it soon becomes clear that perhaps his father is not who he thinks he is. When the truth comes out, the game changes and now Chris must step up and become a man if he’s going to find his mother and survive the consequences of his father’s past. A modest success at the box office and earning mostly positive reviews, Dillon matures a lot, giving Chris a darker and more authentic presence. While the script might have its flaws, Dillon and Hackman are really great, keeping the young star a favorite, though it would be another five years before he finally got back into the critical spotlight.
DRUGSTORE COWBOY
In 1989 independent film auteur Gus Van Sant cast Dillon in his second project, a blisteringly affecting tale of drug addiction and personal abuse. It is based on the autobiographical book of the same name by James Fogle, and on release was widely celebrated as one of the best films of the year with a career-defining performance from Dillon – as well as tremendous work from his co-star, Kelly Lynch. The story follows a gang of addicts led by Bob Hughes (Dillon), along with his wife (Lynch) and a few others, including a young Heather Graham, who travel along the Pacific Highway robbing pharmacies and hospitals. That’s a lifestyle with a short fuse though and it’s not long before things escalate out of control, leading Bob to make some tragic mistakes. Supremely well-acted and directed, this is a grim yet somehow inspiring film that is as unconventional as it is authentic feeling. Dillon abandons his teen magazine persona and establishes himself as an A-list actor guaranteeing him a run of hits in the next decade. This is a harrowing film that for any fan of Dillon, is a must see.