WHERE THE DAY TAKES YOU

US, 1992, 105 minutes, Colour.
Laura San Giacomo, Dermot Mulroney, Robert Knepper, Sean Astin, Balthazar Getty, Will Smith, James Le Gros, Ricki Lake, Lara Flynn Boyle, Peter Dobson, Kyle Mac Lachlan, Nancy Mc Keon, Adam Baldwin, Rachel Ticotin, Alyssa Milano, David Arquette, Leo Rossi, Stephen Tobolowsky, Christian Slater.
Directed by Marc Rocco.

Where the Day Takes You is a story of life on the Los Angeles streets in the late 80s, early 90s. It is a very grim picture.

The film is framed by an interviewer, played by Laura San Giacomo, interviewing a volunteer who has been in prison and is being paid to do interviews as part of an experiment. He is played by Dermot Mulroney.

Mulroney and many of the cast were at the beginning of their careers. The cast is very strong, filled with character actors – and it is interesting after several decades to look back on what they achieved after this film. Most remained character actors although Dermot Mulroney was a leading man as was David Arquette. Of course, Will Smith became a superstar. Character actors like Sean Astin had solid careers, including his role in the Lord of the Rings trilogy.

The film shows a range of runaways who establish themselves in the dangers of the Los Angeles streets. Sean Astin, who has one of the central roles, is a spoilt young rich man who becomes hooked on drugs, desperate, supplied by Kyle Mac Lachlan, yet befriended by King (Mulroney). However, his death scene is quite harrowing. Balthazar Getty portrays a runaway from the east coast, fascinated by guns, something of a hustler (employed by Stephen Tobolowsky) whose interest in guns brings disaster to several of the characters. Adam Baldwin and Rachel Ticotin portray police officers. Leo Rossi is Sean Astin’s father, who loves him but hands him over to the police in the hope that he will have rehabilitation. Christian Slater has a brief cameo role as a counsellor. Lara Flynn Boyle, also a runaway from sexual abuse in her family, is one of the more sensible characters and more hopeful.

The film is very strong on detail – which many audiences may find hard to watch. It is interesting to consider the life on the Los Angeles streets as the decades have gone by since this film. It was directed by Marc Rocco, director of Murder in the First.

1. The impact of the film in the 1990s? Life on the streets in Los Angeles? Poverty, drug culture, violence, hustling? The picture of the streets in the succeeding decades? How much change? For better, for worse?

2. The visualising of Los Angeles, the seedy and sleazier side? The counselling rooms? The contrast with wealthy mansions? The focus on the streets? The range of songs – continually played throughout the film? Popularity – and the lyrics and their meanings?

3. The title – and the random nature of life on the streets, no fixed destinations, expectations, hopes?

4. The framework with the interviewer and her discussions with King? The video footage? The focus on King? His age, background, in prison, rehabilitation? His friendship with Greg and Little J? His story, his encounter with Heather? Liking her? Supporting her? His searching for his friends? Greg and his drug problem? Little J and the gun, King throwing away the old model? The confrontation with Tommy Ray – and Little J shooting him? The effect on King, trying to get out of the city with Heather? Searching for Greg, finding him dead? The police, the confrontation with Little J, his stepping in front of Little J, his being shot?

5. Greg, his wealthy background, running away, on the streets? Clash with his mother? Fond of his father? His father getting the police to him? The interviews? His drug dependence, going to Ted, the range of drugs? His staying in Ted’s place, the gradual effect of the drugs, his not being able to deal with him, being sick, dying?

6. Little J, from the east? Preoccupation with guns? Hustling? His going to Charles, the possibility of comfort? Charles touching his face? Little J hiding out? Bashing Charles? Getting the gun, on the streets, his shooting Tommy Ray? Hiding? King wanting him to leave with him? The police confrontation, the guns, King being shot? His later being seen with Heather?

7. The range of people who wandered in and out of King’s story? Crasher, his talking with the police, giving them leads? Brenda, large, eating? Tommy Ray, the confrontations, his death? Rob, his dealings on the street? The girls?

8. Heather, her own background, coming to Los Angeles, the encounter with King, the friendship? Frank about her story? Ringing her mother? Not wanting to go home? The relationship with King, on the bus, getting out and finding King shot? With Little J at the end?

9. Manny, no legs, in the wheelchair? Will Smith’s personality? His exuberance, his being brutalised by people?

10. The range of police, their interaction with the runaways? The counsellors?

11. The overall effect of experiencing this kind of film – American problems? How universal?