[Originally published in Movietone News 51, August 1976]
by Ken Eisler
I felt a funny kind of letdown when The Wanderers ended, and it took me awhile to figure out why. There’s certainly nothing wrong with the ending. After a fight, the film’s young protagonist Genta slips and tumbles down a long steep bank: a fall that begins comically but becomes by turns frightening because of an accelerating sense of the loss of control, and then, like Marie Dubois’ long snowy death fall in Shoot the Piano Player, strangely lyrical. Finally, with a thud, Genta’s head hits a rock: freezeframe, full stop. Up above, Genta’s pal Mokutaro slows down, turns around, and walks back along the road to the spot where he took off running, one arm bloodily slashed, the snarling, shouting, sword-wielding Genta in hot pursuit. Mokutaro looks around for his friend; calls his name repeatedly; shrugs. “Well,” he says aloud, “he must be taking a shit somewhere,” and the camera starts backing away from him, last of the three hapless young wanderers, alone in a wide screen landscape.