The Wild One
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Movie Reviews of The Wild One
Movie Review: Trophy
Summary: 3 Stars
Marlon Brando and Lee Marvin were two of my favorites back in the day this Stanley Kramer rebel film was conceived, and I still don't know why I didn't see it then - because it was highly advertised as a controversial picture and I tried to go to them all, hoping to see something really shocking. Times have changed.
Anyway, the story starts out with the bikers arriving en-masse into the sleepy little town and they immediately manage to disrupt a legitimate cycle competition that is going on. One of them lifts a trophy and presents it to Brando as a trophy of another sort. Of course, it's conceptual story line is obviously dated, movies being what they were allowed to be then vs. the artistic liberty afforded them now; the pack of leathered up hoods come off like a bunch of mischievous choirboys twisting off on a forbidden lark rather than the two dangerous opposing gangs of outlaws they're supposed to be - of which Brando and Lee Marvin head up as rowdy, rascally rivals who meet again in the little Podunk town and liven it up for a few hours.
The action starts and several of the town fathers get their feathers ruffled over having to host the gangs and suffer the property damage as well as the aggravation of having them in town. Their own reactions become as prejudiced and out of control as the bikers themselves; vigilante justice is served up but not overly so.
The necessary "almost-love story" peeks through the clouds between Brando and his of-the-moment conquest, Mary Murphy, who plays the part of a waitress he decides to fancy; he does not know her father is the Chief of Police just yet. When he discovers this later on, he decides this chick is definitely not going to be his type, but he wavers; she decides he is not really going to be in her future either, but she wavers; love doesn't conquer all after all and Brando rides off down the street into the sunset after cracking the first rusty smile he delivers in the film as he leaves Mary with a tiny piece of his heart and the trophy he didn't win; but he does win, in a way - because he takes a piece of her heart with him too - and that truly was a "trophy of another sort" he might have been looking for.
There is a meaningless scene insert - a former lover of Brando's who's only role at first glance seems designed solely for the purpose of showcasing a pair of big boobs. She's immaculately clean and coiffed, too, for a biker chick. He keeps flicking her off like a fly, but on second thought, my take was that it was meant to add not only intrigue but the biker sex routines suggestion that couldn't otherwise be be detailed quite so easily then.
Several of the scenes are very good and capture fleeting feelings of love mingling with mistrust; especially the tender/tough one of Brando and Murphy racing away together on the bike after he heads off a tragedy that threatens to befall her partly because of who he is and what he has brought with him.
If you like old movies, Brando and Marvin, you'll probably enjoy this one well enough just for old time's sake if for no other reason. That's why I did it, mainly, and don't regret it.
Movie Review: I've had it with this jive, Daddy-O; I don't know where I'm going, I just GO
Summary: 3 Stars
Marlon Brando's "The Wild One" from 1953 (black & white) could arguably be called the first biker flick, even though parts of the story/dialogue come off artificial, amusing and tame, especially compared to the first REAL biker flick, Peter Fonda's "The Wild Angels" from 1966.
THE STORY: Two bike gangs clash in Hollister, California, Marlon Brando's Black Rebels and Lee Marvin's The Beetles. (I'm not sure if Hollister is the name of the town in the film, but that's where it was actually shot; Hollister is about 70 miles SE of San Francisco).
WHAT WORKS: Needless to say, Marlon Brando is superb as the taciturn Black Rebels' leader. At the opposite end of the dispositional spectrum Lee Marvin is just as exquisite as the merry, fun-brawling leader of The Beetles. Mary Murphy is also very good as the cafe worker that shares a few romantic sparks with Brando.
Brando was 30 years old at the time of this picture's release, so it's not very appropriate that he's constantly referred to as "boy" in the film. Regardless, Marlon as the titular 'wild one' is definitely the prototype of Fonzy-like "cool," a full 2 years before James Dean's "Rebel Without a Cause" would materialize. His "Whaddaya got?" response to the question "What are you rebelling against?" is priceless, to say the least.
WHAT DOESN'T WORK: Although the plot is good (loosely based on a real event), the story's dramatic stagings and shifts, not to mention the trying-to-be-hip non-genuine lingo, provoke an amused "Yeah, right" response. Such phoniness will naturally hinder modern viewers from becoming enraptured by the story ("modern viewer" includes anyone who grew up on post-50s cinema -- i.e. mid-60s to the present).
Still, a couple of story elements work well, like the ending [minor SPOILER alert] when a police officer encourages Brando to thank Mary and her father; Marlon appears to try but ultimately maintains his silent 'cool' demeanor. Mary then responds, "It's okay, he doesn't know how." Although she's right, Brando comes back a day or so later to indeed express his thanks, albeit in a non-verbal manner.
BOTTOM LINE: If you're looking for a classic biker flick, don't expect "The Wild One" to remotely resemble the infamous late 60's/early 70's biker films, such as "The Wild Angels" or "Hell's Angels on Wheels." Keep in mind that cinematic "gritty realism" didn't come into vogue until the 60s. Hence, it should come as no surprise that "The Wild One" largely comes off as lame, tame, artificial and amusing, you know what I'm saying, Daddy-O? Still, Marlon Brando towers over the material and there are a few worthwhile qualities, as noted above. Needless to say, a must for Brando fans and those interested in classic cinema or amusing old-fashioned dialogue.
Movie Review: "Whatta ya got?"
Summary: 3 Stars
This movie made in 1954 starring Marlon Brando and Lee Marvin was the first of the "biker" movies.
The film loosely depicts the 1947 biker melee that really happened and virtually destroyed the northern California town of Hollister. The script was a little weak for me.
Marlon Brando stars as Johnny, the leader of a biker gang (the Black Rebels) that invades a small town, Wrightsville.
The movie begins where the gang takes a road trip and crashes a motorcycle race and push race officials around. They are eventually thrown out but one of them ends up stealing the first prize trophy and gives it to Johnny, who straps it to his bike like a hood ornament. The gang then rides into Wrightsville where they cruise up and down the main street and end up going to the local bar. The owner of the bar is happy to let the bikers spend their money and does nothing to break up any fights. Johnny likes the girl who works there, but she is the sheriff's daughter but he still tries to impress her with the trophy. Then a rival gang rides into town, headed by Chino (Lee Marvin) and the havoc begins.
The movie's language is severely dated, but I wasn't around then, so I imagine that's how some of the younger people spoke. The movie has a great quote though. When one person asked Johnny (Brando) what he was rebelling about he replied, "Whatta ya got".
This film also was believed to inspire Sonny Barger the undisputed leader of the Hells Angels.
While I'm an avid motorcyclist, I don't condone being in a "biker" gang and I'm not a member of the "1 percenters", so to see bikers destroy a town wasn't entertainment to me especially when there was no motive. The head of the American Motorcycle Assoc. made a statement saying that 99% of motorcyclist are law abiding citizens, the Hells Angels claim that they are the remaining 1 percenters.
But, when you ride a bike it is the most exciting thing you can put between your legs and you get the feeling of total freedom and it's pure fun.
With all its flaws, this film will appeal to you if you love bikes and besides that you get to see the start of biker clothing---the leather jacket.
Movie Review: Not good, not bad....
Summary: 3 Stars
Not really that good, but not all that bad either. This describes both the quality of the movie and the degree of evil of the characters. Loosely based on a true incident. A large number of disfunctional World War II vets returned home, bought motorcycles, and decided to see America. A group (proto-gang) of these vets, um... liberated a small California town in 1947. Yes, they terrorized the townfolk, but didn't exactly burn the place down and murder people. They had their way. A few fistfights, a few unpaid-for drinks. (Possibly a woman assaulted here and there: don't mean to suggest it was entirely innocent, or that no one got hurt. Don't mean to suggest it was a big joke. War is evil and can scramble the brains of its participants.) Think of KELLY'S HEROES types returning home. A couple of hundred CHiPs finally moved in and unliberated the town. After this incident, many wannabe-disfunctional-vets admired the devil-may-care attitude and sought to emulate them. Thus was born the outlaw biker culture. This movie is based on that except it has been changed to disaffected youths as the prepetrators.
It's basically the eternal internal struggle of living a life of freedom vs. one of being a responsible productive member of society.
Note: I do not wish to be seen as attacking military veterans. One has only to see many of the movies made in the late 1940s to know that many men had a great deal of trouble coming home and readjusting to civilian life. Examples: THE BIG SLEEP, ALL MY SONS, THE BLUE DAHLIA, CROSSFIRE, KEY LARGO, THE BEST YEARS OF OUR LIFE, etc. (If you consider the butcher shop and horse race as metaphors for war, then even NATIONAL VELVET has to be put in this category.)
Movie Review: Lee Marvin makes it watchable
Summary: 3 Stars
For indepth plot analysis, check out some previous reviews. Most everyone knows who the characters are and what this flick is about. But it all boils down to the fact that this is a pretty square picture, made by a bunch of squares, all trying desparately to be hip and capture the essence of something entirely new and elusive, which was Beat coolness, crossed with postwar veteran angst. The original event that this is (loosely) based on, a motorcycle rally in Hollister, CA in 1947, is very misunderstood and little known outside of biker circles. But there was a sea change underway in the American psyche - one could almost say that the 60's started there, as much as anywhere. "The Wild One" tries to capture this notion, but this film has a very tone deaf quality to it. They all know the words, but they can't carry a tune.
The one shining star here is Lee Marvin, who is (as usual) so perfect it's scary. It's like he wandered onto the set from another picture being made next door, or something, so clearly does he outclass the rest of the pack. He is worth the price of admission, and is the perfect portrait of the disillusioned WW2 vet out to By God enjoy a little of the freedom for which he endured so much hell.