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Wild One [Import]

4.0 out of 5 stars 37 customer reviews

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Product Details

  • Actors: Marlon Brando, Mary Murphy, Robert Keith, Lee Marvin, Jay C. Flippen
  • Directors: Laslo Benedek
  • Writers: Ben Maddow, Frank Rooney, John Paxton
  • Producers: Stanley Kramer
  • Format: NTSC, Import
  • Number of tapes: 1
  • MPAA Rating: UNRATED
  • Studio: Sony Pictures
  • VHS Release Date: Sept. 26 1997
  • Run Time: 79 minutes
  • Average Customer Review: 4.0 out of 5 stars 37 customer reviews
  • ASIN: 6303402089
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Product Description


This is the original motorcycle movie, starring Marlon Brando as the brooding leader of a biker gang that invades a small town. The film always looked like one of those synthetic Hollywood ideas of subculture life in the 1950s, which means it looks even more artificial today. But it is an actor's piece more than anything, and toward that end Brando's performance really is an important one in the context of his revolutionary reinvention of film acting during that decade. Directed by Lásló Benedek (Namu, the Killer Whale) and produced by the socially conscious Stanley Kramer. --Tom Keogh

Customer Reviews

Top Customer Reviews

Format: DVD
I would have to agree with other reviewers that this film is rather corny, but for its time it was revolutionary. Throughout the film I must admit I had several laughs with lines such as, "You're too square" and "Anybody thinks their too good for me, I knock 'em over sometime". And phraseology such as "that's corn ball style". And Brando's faux black accent put me in mind of a 1970's blaxploitation movie, especially with the continual use of the word "jive". Nevertheless, Brando's deliverance is awesome, everything from his facial expressions and gestures to his timing is perfect. The man is stunning in this film. It's hard to take your eyes off of him, but then again, why would you want to?!! Highly recommended!
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Format: VHS Tape
I'm a Brando fan. And so looked forward to seeing this classic 1954 film on videotape. What a disappointment!
There was nothing intrinsically bad about this gang. And that was what the trouble was. They were just a bunch of young men who liked to let loose on weekends. Not a criminal or outlaw bone in their bodies. They made a lot of noise, fought among themselves, drank a lot of beer. The pranks were rather harmless too, like teasing the uptight residents of the town, making noise, joking around by putting hair dryers on their heads. A small amount of property gets destroyed, but these men are obvioiusly not real criminals.
I giggled throughout the move in places that were overacted and were not supposed to be funny. There was no real tension even though a voice-over at the beginning warns the audience about this awful gang and that people have to make sure that it doesn't happen here. The love interest seemed silly. And Brando seemed to be totally limited in his range of emotion or acting ability.
I just can't understand why this movie became so famous and was so acknowledged. It is not just that it was made more than three decades ago. I've seen other movies from that period that had good plots and good acting. On the Waterfront was one of them, produced in the same year,and in which Brando emerged as a fine actor.
Recommended only for those into classic films. But be prepared to be bored.
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Format: DVD
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.
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By A Customer on March 7 2003
Format: DVD
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.)
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