Texas, 1980. Jake arrives at the campus where he is about to begin her course of study. Pitcher in college baseball team has a room in a crowded house mates who think mainly to enjoy life, seducing young girls, drinking beer and dancing dressed up in clubs. very soon integrated into the group of joyful living together, Jake falls in love with Beverly, an art student and spectacle that seems to reciprocate. Between a fistfight and a workout, Jake and company will take advantage of the ‘recreation’.
Everyone wants something begins where Boyhood ended its run and returns on ‘debut to life’ by Richard Linklater Austin University in Texas, and in September 1980, the year when Reagan became president and disco and punk are their peak, the permanent is still a must and protected sex is still a fun oxymoron. But the range is (almost) over and the bell sounds the start of classes for Jake and his generation fracassone and mustachioed. Twenty-three years after the director Texan back on the trail of his teen-movie Dazed and Confused, cult object in the States with which the movie shares the campus alpha males testosterone and the same dramatic coolness.
Done in a fluid sequence of saturated color paintings and pop sounds where the hours seem to expand endlessly, Everyone wants something reiterates the obsession of Linklater for the time, the fascination with its circularity Proustian. And in its flow ceaselessly he captures what the author is the movement of life itself which never fishing swivels symbolic but complementary moments. His film is a melancholic moments of usual suite while the ages flow, fashions pass, textures parade. Everyone wants something is a stream of consciousness which immediately returns the experience of time passing out of our control and clinging to things, words, marginal lightning yet full of their own beauty. Everybody Wants Some !!, to which the Italian title has removed the exclamation points (Everyone wants something), is an authentic youth explosion ketchup where the joke and idiocies bounce like ping pong balls and the spirit of the body assumes form of a fierce competition at all levels of existence: sports, courtship, friendship. After Boyhood and the famous trilogy (Before Sunrise, Before Sunset, Before Midnight), which bear witness to its vocation for the temporal matter and its contingencies, as DeLillo Linklater follows the story of a baseball and finds her homerun.
A legendary home run, out of time and before the end of the recreation that captures a snapshot of a look and the essence of a moment that once again the author invites us to share. From Boyhood to spree Everyone wants something, the project remains the same: to scan a generation through the eyes of a teenager at the threshold of adulthood. And with the times even the eyes change. This time are those of a pitcher who moves with a suitcase and a box of vinyls on campus and in a decade of social tension and relaxation of morals. Age is not yet threatened by the shadow dark AIDS and at most alarmed by the menstrual delay girlfriend on duty. In the time of a weekend, the author is a pack of sports carefree and open to all experiences which reserves the internship. In that bubble of suspended time and hung promises that precede a debut, stir a group of American students whose actions and breaches of the rules of the house (no alcohol and no women on the upper floors) have no effect and consequences.
Linklater fixed forever the range in which the boys leave the family nest but not yet fulfill the obligations of adulthood, playful anteroom available to their wishes and the invention itself. And in that prelude vintage, which recreates the moment cartel’s secret with the space-time unknown, the director has thought a day like his character to become a professional baseball player. But strong as Jake, is the only one not wearing a mustache and refuse to choose a dominant matter that would cause him to an identity permanently, Linklater decided for both freedom. Because freedom is the movement (towards something, towards someone). The attraction that Jake, Sisyphus on the mound, evidence for an art student and the chance meeting with an old high school classmate converted to punk reveal the unknown cultures and the possibility of an alternative relationship with the existence, freed by the bond of social conventions.
College-movie without courses or baseball match, Everyone wants something is developed with a meticulously documented and applied to the décor, costumes, accessories, look at (solid mustache and Freddie Mercury’s rock) and music (the title is also a song by Van Halen), no external time reference to the campus gets to disrupt the recreational activities of our singing “Rapper’s Delight” their hearts and heads in time in a scene that sums hedonism beautiful shiny eighties. Which is now the exclamation film. A coupe de foudre that passes for a coup de fil. A phone that you would not know to say whether short or ending but miraculously he loves.