alexanderdavies-99382 "The Wild One" was one of the first films of which would establish a new kind of anti-hero in Hollywood - the rebel. Marlon Brando successfully exploiting this burgeoning character, would lead to a whole string of Hollywood movies where the main character would be at odds with any kind of authority. Actors like Montgomery Clift and James Dean would personify such characters. Released in 1953, "The Wild One" was met with controversy and was banned in Great Britain for quite a while. In all honesty, the film is rather mild and tame when viewed in today's world. Judged on its own merits, the film is a well made one. It has some good dialogue, steady direction but the film also makes a valid point with regards to those people who are supposedly civilised. "The Wild One" was based upon an incident which took place in the late 1940s, where 4,000 gang members on bikes proceeded to terrorise a small American town. That doesn't occur in quite the same way in this film as the bikers in question are more prone to larking about, rather than inflicting any real harm or posing a threat. Interestingly, it is some of the local inhabitants who display a good deal of aggression and volatility. It is they who turned out to be the real villains of the piece. Marlon Brando plays the leader of one of the gangs but his acting ability isn't stretched all that much. It's not that he isn't giving a performance but quite wisely, he doesn't give his character any more depth than is necessary. However, there is one scene where Brando lowers his guard just long enough for us to see a more vulnerable side to him. Such a moment would only show itself whilst the character is alone. "The Wild One" wasn't a particularly expensive film to make but it didn't need to be, in order to be effective.

ElMaruecan82 "Hey Johnny, what are you rebelling against ? -Whadaaya got ?"This simple exchange sums up the spirit, or lack of , that inhabits the tumultuous heart of Johnny Stabler, the leader of the Black Rebel Motorcycle Club bikers riding like formerly the horsemen of the Apocalypse their Triumphs, or their triumph over a square alienating norm whose only trophy is defiance and suspicion. People see them as hoodlums, they define themselves as rebels … but Johnny gives the perfect answer to the inevitable question. What have you got?Indeed, there's nothing that doesn't invite to rebellion, it's not just being against the norm or the system but not even making a norm out of one's rebellion, the idea is simply to go, to escape from the conditioning and alienating effect of civilization. These guys aren't the baby boomers, they lived the War, they remember its effect on the elder, they inherited an America to rebuild, but the spirit was all lost in the greatest generation's souls. They're part of the rebirth of America and its conquering spirit, but only in the name of motorbikes, bottle of beers and rock'n'roll."The Wild One" directed by Laslo Benedek is the first of a trilogy that can be defined as the "Rebellious Youth of the 50's" followed by "Blackboard Jungle" and the the iconic "Rebel Without a Cause" (a title that could have fitted this one). James Dean's movie dealt with rebellion from an Oedipal point of view, showing the roots of the youth's unease, the absence of a true model to respect. "Blackboard Jungle" was more about the failure of education. But "The Wild One" shows the results without getting through their background, all we see is these kids in their 20's looking for vast landscapes for driving, bars where partying, and towns for terrorizing.And the first two films have one thing in common, they start with the infamous headliners, you know these big words that don't take the viewer's intelligence for granted. Yes, we know the whole rhapsody; this lost youth is revealing of the failure of a system … and let us pray for it will never happen again. Did we need that? I guess it's like the famous Cagney-Robinson movies in the 30's were people weren't used to see gangster playing the lead roles. Well, the 50's had to deal with rebellious minds, no less dangerous, except for the fact that they didn't cause trouble for money, they had no reason whatsoever to act like they did, they did because … well, why not?And the casting of Marlon Brando as the seminal rebellious kid is the film's masterstroke not just because of his iconic look, 2 years before James Dean with the leather jacket, the hat, and the Triumph, one of the most defining images of the 50's, there's more to that, there's Marlon Brando, there's this constant enigma engraved in his face. This is something I sensed in most of the characters he played in the 50's, we never exactly know what he thinks, what he feels, and most of the time, his character gets away with his secret. Johnny Stabler is no exception, he doesn't emerge from the group as a leader but as a natural outcast with one hell of an aura.This is pure Brandonian detachment, and I love it. See how he subtly escapes from the gang as soon as he sees the beautiful Kathie (Mary Murphy), yes, it's obligatory romantic subplot but Brando elevates it to another dimension ever improving HER acting by the miracle of his presence. I suspect the moment she tried to get the capsule of his bottle and he took it away from her, was one of these improvisations he has the secrets. Brando plays everything, he's tough, sensitive, intriguing and fascinating. Ultimately, she despises his gang, but in no way, she can despise him because there is something incredibly attractive in that guy who doesn't enjoy attracting.This is the rebellious attitude, a nihilistic escape in the world and within oneself, without coming back with no one on one's back. Stabler has no connection with the past, he never looks back, if he takes the girl, she's got to go with him, if he doesn't trust the cop, it's because he did before and it cost him a lot. Always moving forward …. Is his motto, although when one of his gang friends is injured by an old man, observing the cute Kathie, he decides to stay. The townspeople try to accommodate with the gang but it's only a matter of time, and beer that the generation gap shows its limits, forcing the local councilman, Mary's meek father, to interfere. But the man is incapable to use his weapon, abandoning all the control to the angry mob lead by a local bully."The Wild One" isn't the subtlest script ever but I admire its straight-forward way to make its point in 80 minutes that feel longer, this is how thrilling it is. There is a bit of wilderness and soft-headedness in all of us, it's all about which button to press. Its primitive, simplistic, but for some reason it works and Brando is mainly the cause, but I wouldn't attribute all the merit to him, there is a stellar performance, from, Lee Marvin as his rival Chino, almost stealing the legend's show and an unrecognizably young Tim Carey as one of the hoodlums.As simple as the film is, it'll be forever renowned for its iconic image of Brando and his indelible quote, enough to put it in the legendary 50's, a must-see definitely, a cult-classic … or the Easy Rider of the 50's… And Marlon Brando was born to be (the) Wild (one).

ebiros2 Otherwise a forgettable movie, totally transformed by Marlon Brando.Johnny (Marlon Brando) rides with his gang into a quiet little town inhabited by all right, but rather quaint, and parochial minded folks. On top of his gang, another group of bikers headed by Lee Marvin arrives in town just as a coincidence. All of them are not about behave as good citizens, and the two mixes up into an explosive chemistry. Johnny is kind of keeping good manners, but since he's the boss, he gets singled out to face the blunt end of the supposedly good fellas of town.This seemingly simple story gets high voltage boost by the presence of Marlon Brando. I was born after he was famous already, so I didn't rediscover Marlon Brando until recently. He was good in the God Father, but his performance from the '50s is simply off the chart. Brando was labeled a rebel, but when I see him, he's one of the most grounded person in Hollywood. His sensibility comes through in this movie's character, and you can't help but agreeing with the character Brando plays. Maybe that's the magic he had. A movie worth watching only because Marlon Brando is playing the lead. If he wasn't in it I doubt if the movie even worth 4/10. But this movie is superb, and deserves 8/10 because of Brando's performance.

dougdoepke A peaceable town is taken over by motorcycle rowdies.Despite the sometimes frat boy antics of gang members, the movie came across to audiences of the time as something of a 50's nightmare. For example, there's a small town taken over by motorcycle outlaws, a virginal girl (Murphy) surrounded by rowdies, a cop too meek to intervene, and a general breakdown of peace, quiet and conformity. In short, it's a challenge to the every day norms the famously inarticulate Johnny (Brando) is rebelling against. It's that sort of restlessness that takes the gang to the highway, and the excitement they seek. But it's also a nation recovering from the rigors of a big Depression and the disruptions of WWII. So the two are bound to clash. The movie may seem tame by today's graphic standards, but for the 1950's it was a barbarian assault against the decade's defining conventions. No wonder, the film was condemned in so many places.Truth be told, Brando doesn't act so much as he poses. Nonetheless, it's an iconic pose in cap and sunglasses that shot him to the forefront of the decade's celebrated rebels. For example, catch how delicately he positions the sunglasses or how he slouches silently by while others cavort. Still, the movie really comes alive when Lee Marvin (Chino) and his gang hit town. He's the loudmouth opposite of Johnny, looking to knock him off his regal pose, which he tries in a well-staged fistfight. Then there's Mary Murphy's good girl, a perfect casting choice. When she flees down a darkened street just ahead of the motorcycle rowdies, I could feel frozen shudders all over the theater of that day. It was like small town America about to be ravaged. Of course, the tables are turned when some of the town's bolder elements form into vigilantes and chase Johnny down the same street. I guess violence, as they say, really is a two-way street.Anyway, the movie's still a milestone worth catching up with. My only gripe is with the cheapness of the production. The town and the sets are bare bones, especially in the movie's latter half. Maybe that was intentional in order to highlight the story. But if so, it came at the expense of a realistic undercurrent, especially the atrocious exterior set for Johnny and Kathie's little get-away, appearing more like a stage play than a film. All in all, it's a signature movie for the young Brando, cementing his rebel image for a generation.