When it comes to making films that live proudly in the genre of cult classic, Walter Hill is one of the forgotten few. Not particularly regarded or renowned amongst the American movie making industry, Hill has created and produced a back catalogue of iconic films with enough punch to knock you clean out of your cinema seat and clear into the popcorn strewn aisle.

From the grizzled and bloody scenes of "The Longriders" with its collaborative cast of acting brothers, to the cultural icons of Black America in the career defining comedies of 48 Hrs and Brewster's Millions. Hill has always pushed to create films with issues at the heart of the action and by doing so sets himself out to be a director of considerable worth and importance over a period of distinct cultural change within Hollywood.

However, in terms of cinematic history and a clearly defined position as cult classic it is one of Hills earlier works that established him as a director of note and set him on a path that was to be the epitome of cult moviemaking.

When it comes to making these so called iconic movies it is always of importance to spark controversy at every venture, so when Paramount chose to withdraw all promotional advertising for "The Warriors", due to sporadic outbreaks of violence during preliminary screenings, Walter Hill was well on the way to establishing his film as one you definitely had to see.

Based on the novel by Sol Yurick, The Warriors is a film with a basic premise. It is the late 70's and gang members outnumber the police 5 to 1. Brought together in one place these gangs are united by Cyrus, the leader of the largest gang in New York. However, Cyrus is mercilessly shot down and the Warriors from Coney Island, despite their innocence, are fingered as the culprits. What follows is The Warriors journey as they struggle to get back home to Coney Island avoiding as many of the pitfalls and unfortunate encounters with rival gangs as possible.

Although based around a very simplistic storyline there is an inherent vibe that emulates from this film. With the majority of the films focus on the individual nuances and character differences of this gang of united fugitives there is a depth, warmth and an overall deeper context to the action. It is not solely a watered down version of the odyssey with gang culture replacing the Greek icons. It has its own messages and its own individualism buried within the continuing saga.

This film is ultimately about struggle and the ideals of self improvement. The main characters strive to achieve an understanding to their social situation in a hope that they can fulfil their ambitions and create a better life, free from the hardships of a life lived on the streets. It also tells of unity and of a friendship that runs deeper than the colours they wear. The Warriors act as surrogate family in an environment where parent input is seemingly non existent.

Deliberately stylised in appearance, this film sets out to exaggerate and characterise its vision of a city that comes alive with a varied and contrasting underbelly of career criminals and teenage hoodlums. Sadly, to a certain extent this approach dates the film slightly, as the apparel worn by most echo's back to bygone days of dungarees, leather waist coats and the ensuing fashion disaster that was the 1980's.

However, this is more than made up for by fast pacing and a rousing soundtrack that emphasises and encourages the action to continue. Add to this a powerful ensemble cast of fairly unknowns (Michael Beck & Deborah Van Valkenburgh especially) and future Walter Hill collaborators (James Remar & David Patrick Kelly) and you are left with a movie of outstanding strength of character. With an exceptional depth and subtlety to its acting and a distinct style that sets itself out as cartoon like, its portrayal of a violent underclass struggling for recognition and acceptance leaves you with a film that has classic stamped all over it.

In regards the ensuing violence that runs throughout the film and was inevitably the cause of many a ripped cinema seat, The Warriors is unrelenting. The violence exuded by the warriors is always portrayed as a defensive mechanism, a means to an end in their arduous journey home. Portrayed as tough, street fighting kids there is no question within the film that the Warriors are capable, but there is also an inherent morality within the unit. There is an honour and a code that forces you to not only respect the Warriors, but affiliate yourself to their way of life. Hill makes you feel like a Warrior and that their journey is your journey. Your heart sinks at every subway train missed and races at every gang encounter. You are drawn into the action as if you were involved and this is the basis that makes The Warriors great.

Granted The Warriors may be basic in its ideals and simplistic in its approach. There has been a multitude of buddy movies running along similar lines over the years and to an extent this has taken the originality of this film and diluted its impact. In 1979 this film teetered on the brink of movie censorship for its shockingly frank approach to inner city life and had enough impact to make people run rampage in the cinema aisles. For that alone we must consider The Warriors certainly an iconic and important part of cinema history, if not one of the great cult classics of its time.