The Wild One [DVD]

Leader of a rebellious motorcycle gang Johnny (Brando) becomes infatuated with a waitress whilst the townsfolk despise the group's reputation.

There has been numerous compelling motorcycle driven dramas in the past. Peter Fonda and Dennis Hopper's controversially realistic "Easy Rider" to recent Oscar nominated "The Motorcycle Diaries" have both put aside the conventional tale of going for a ride and depicting the trouble and traumatic reputation that continues to befuddle the world to this very day, and this film shows pretty much where it all started.

Made in 1953 this was banned in the UK till the mid sixties and with an X rated certificate when ruled legal. In today's modern culture seeing this would be hard to understand why but it is a film made for the time and the context in which it generates its concepts is staggeringly controversial.

The stereotypical version of the modern biker is wearing hard leather, with a beard and acting rough and tough with indistinguishable discourse. Being a biker myself, I have none of these things and am glad to see that this film is not stereotyped but a more look at the fabrications of personality over your representation, which is catalysed by perfection by the Godfather.

Marlon Brando steals the show with a necessary neglectful and hard approach to central protagonist Johnny. Leader of the gang, he is the hardest nut in the toolbox with his nonchalant attitude. His presence is convincing onscreen and dominant in every aspect and this film would have paid a massive wave in Hollywood for him to rightfully take America by storm.

His character is the apparent soulless creature with a collection of followers who are simply just looking to get up and go, and to live the modern stereotype, that is a trait that many bikers still wish for these days. He is an idol in many respects because of his can do attitude. When talking to Cathy in the café he simply asks "Why?" to her converse about her wishing for a better life.

But this film is more about the story than the man. As the group arrive in town there are numerous arguments and a quick established judgement before anything happens. It's amazing to think that a whole town would immediately jump to a forgone conclusion without knowing any of the bikers. The film follows on with heavy political and legal debates that don't bore and often excite with even the odd spurt of humour. Even the romantic side of things isn't clichéd and conventional which is an added bonus.

When looking at the other films mentioned above, this has to be the most judgemental and surprising if not as shocking as easy rider. This is strong issue driven cinema that does not let itself slide into stereotypical traits, a must watch for any biker.

9/10

Favourite Brando film ? There are so many ! I know that I watched "The Wild One" like a junkie as a teenager and then "On the Waterfront" and in fact all of those early films of his from the 1950's. "The Wild One" combined my favourite actor with the definitive images of a leather motorbiker and once that has been absorbed into the mind of a fan like me, it was hard to shake it lose. I also admit I really wouldn't have minded looking like him, but how many men have felt the same way ? His defined features, his blunt nose, his dark eyes and charismatic smile and just a cool demeanour that followed him. He got the girl and other girls swooned - who wouldn't want to be him ?
Some say "The Wild One" has dated, and to a certain extent it was dated when it was released. It was realistic enough perhaps, but is that really relevant ? There are no bikes like that anymore or a society or world like that anymore, so what relevance does it have ? I think the naive way that the characters interact is endearing. The times are simplier, but the dangers of mob mentality is still preached crystal clear. The acting is understated and also underestimated, Mary Murphy and Marlon Brando alone are downplaying their roles with great subtlety, whilst adding a daring twist on the role of new found love and relationships, which must've seemed daring at the time. As a historical point of view, you have to remember that the film was banned from U.K. cinema audiences for a very long time after it's original 1953 U.S. release - you have to wonder why!
And of course there's the leather! This is perfect footage of original bikers' leathers been worn for the first time (Way before the film, "Grease" !) and some of the jackets, such as Brando's, look custom made as they seem to fit so well. So from a fashion/textile/draper researcher, whatever, point-of-view, the film alone is worth watching many, many times and from a Marlon Brando fan point-of-view it is simply one of his most iconic films that should be treasured and watched forever !

The "bikers" are like Broadway show extras. The dialogue is embarrassingly unauthentic. Believe me, nobody outside of 42nd Street ever talked like that, daddy-o. The story plays out like some kind of "B" Western with a horse shortage. The "town" even looks like a Western set made over for what somebody in Hollywood thought might be a new genre. There's a café and a saloon rolled into one and a gal working there to catch the eye, and a town posse and a jail and a sheriff (father of the gal) and some "decent citizens" turning into vigilantes, and instead of outlaws we have "hooligans." The bikers do everything but tie their bikes up to the hitching post after roaring into town as though to take over.

Okay, that's one level. On another level this should be compared to Rebel without a Cause (1955) as a mid-century testament to teen angst. Or to Blackboard Jungle (1955) with the fake juvenile delinquency and the phony slang. Marlon Brando as Johnny Strabler, whose claim to fame (aside from being the leader of the pack) is that he stole a second-place biker trophy, stars in a role that helped to launch his career, not that his acting in this film was so great. (He was better in half a dozen other roles, for example., as Stanley Kowalski in A Streetcar Named Desire 1951, or as Terry Malloy in On the Waterfront 1954). What stands out here is his tough-guy vulnerability with women: the irresistible little boy playing big. In one sense, this is, despite all the men running around and the macho delirium, something very close to ladies night out. It's a period piece love story, as delicate as a teenager's heart.

Mary Murphy, who in my opinion really steals the show, is at the very center of the drama and the psychology (not to mention that she looks downright yummy in her cashmere sweater and close fitting skirt). She plays Kathie Bleeker, a small town girl whose heart yearns for something--anything--to break the tedium. Along comes Johnny to sweep her off her feet. Only he isn't sure how. Furthermore, she has a problem: although she falls in love with the wild one, she sees right through him. The scene that makes the movie begins with her jumping onto the back of his motorcycle (of course) and, after roaring down the night highway, they retire to what looks like a park. She is about a breath away from what used to be called swooning, but despite her fluttering heart, she sets him straight on who he is and how she feels and why. It's like a woman talking to a wild boy. Then she falls to the ground and just about caresses his motorcycle. It really hits home because she sees through all his pretense and exposes his vulnerability, but is vulnerable herself.

Lee Marvin plays the rival gang leader with a lot of showmanship and Robert Keith plays the ineffectual father. Just about everybody else (including longtime LA sports anchor, Gil Stratton) amounts to an extra.

See this for a glimpse at mid-century psychology as seen through the eyes of Hollywood's seduction machine, and especially for Mary Murphy (running in those heels) who, for whatever reason, never became a star.