Der Wilde

MARLON BRANDO rides into town leading a pack of wild motorcycle riders who proceed to terrorize a hick town before LEE MARVIN shows up and gets into a drunken fight with Brando (as Johnny). Meantime, Johnny flirts dangerously with a cop's daughter (MARY MURPHY) who runs a cafe. Her father is played by ROBERT KEITH, a lawman who's reticent about using his authority with a bunch of motorcycle thugs.

Tension builds when Keith manages to haul Lee Marvin off to jail. Brando's buddies manage to get a hold of one of the town bullies and put him in the jail cell with the drunken Marvin who has passed out. They then go on a wild rampage but not before some of the town's men decide to form a vigilante squad and go after Brando. Brando has a brief romantic fling with the girl who realizes loving him is a lost cause.

***** POSSIBLE SPOILER AHEAD ***** The plot moves swiftly to a conclusion once the girl is able to convince the authorities that he wasn't responsible for the death of an elderly bystander hit by a motorcycle.

Stanley Kramer production has a nice, tense background score by Leith Stevens.

Summing up: Early Brando is impressive to watch, but much of the dialog is very dated and anchored firmly in the 1950s by the slang and be-bop expressions and overall concept of the film.

Famous for the moment when a girl taunts him with: "What are you rebelling against?"

Brando's terse reply: "What have you got?"

Every so often that movie comes along that defies everything, everyone and all expectations. It reaches beyond the realms of mere big screen entertainment and constructs iconography and archetypes that are so enduring that to this day they are relevant and have an effect. Make no mistake about it, The Wild One is THE first movie to represent a youth culture of any description. People cite Rebel Without A Cause as the first youth culture movie BUT this movie came before and in my opinion, is by far the better movie

The story centres on Johnny Strabler (Marlon Brando) and his motorcycle gang who terrorise a small California town alongside another motorcycle gang led by Chino (a young Lee Marvin). After Chino's arrest for out of hand antics, the gangs run wild during the night, doing with the town as they please, from attacking the telephone operator, freeing Chino from prison to attacking a citizens house whom they believe responsible for Chino's arrest and accosting just about every female in the town. While Johnny is not totally blameless for this he is most definitely NOT the instigator that everyone makes him out to be. This does not stop the townspeople adopting a mob mentality and going at Johnny with all guns blazing. However while they are planning this there is a love story unfolding between Johnny and the daughter of a cop, a love story that is never truly consummated. The cops daughter had intrigued Johnny since the beginning since she had appeared untouchable. He saves her from the wrath of the rest of the B.R.M.C. (the name given to Johnny's motorcycle gang) and takes her to a forest where, after some heated Academy Award flavoured dialogue and a kiss and a slap, the cops daughter runs from Johnny, although not FROM Johnny. The running stands for a metaphor related to suburban societal entrapment. Johnny is later caught and battered by the mob until the towns cop unknowingly stalls the mob for Johnny to escape. Johnny grabs his motorcycle and attempts to ride out when something (a tyre iron) is thrown at the wheel of his moving bike and causing is to fly out of control and into an elderly citizen. And when it seems that Johnny is going to go to jail for an extremely LONG time, a couple of towns people including the cops daughter decide to tell a few truths that help Johnny get out of it. Johnny and his boys leave town never to return.

The mere storyline of this movie is simply not enough to translate exactly what it is that this movie stands for and is responsible for. A scene that is, and forever shall be ingrained into the Hollywood psyche is when Johnny is standing by a jukebox and one of his gang members is dancing with a girl and she asks, `B.R.M.C., what does that stand for?'. Johnny's gang member replies `The Black Rebels Motorcycle Club' and she replies `Hey Johnny, what are you rebelling against?' and he replies, in what could very possibly be the most career defining sentence that has ever been uttered on-screen, `Whaddya got?'. Now in this day and age that comes across as incredibly trite and corny but in those days, in that social environment that existed in Western Culture, that movie was called incendiary and ran into censorship troubles (cue The Hayes Code) and in England was banned outright until sometime in the mid 70s. While watching this movie one must remain totally and utterly aware of the context of this movie.

Another the scene that was the cause of many a raised eyebrow and was exactly what makes every kid on earth that's ever been condescended to by teacher and parents and the like, totally empathise is the scene where the cops daughter and the cop have saved Johnny's life and Johnny is being read the riot act by the Sheriff and he just sits there, looking at the floor (c'mon guys, u know you've been in that position before) totally listening but appearing as if he isn't. As Johnny is strutting out of the room the cop stop him by asking if he has anything to say to these people who have basically saved his life (at least from jail). The cop even prompts him so far as to say `You could at least say 'Thank You'. Johnny doesn't move, doesn't turn to look at them, doesn't speak. This silence is broken by the cops daughter who says `It's OK, he doesn't know how'. This on it's own cements John Strabler and the most archetypal rebel. The key here is in relating to the character. Everybody, from your typical f***ed-up suburban teenager, to your urban delinquents to a three year old can understand the complexities and the moral stand that is taken by someone when they decide that they will not do things like apologise or thank people.

Youth rebellion was a complete and utter non entity in the 50s, no one could fathom kids doing things like this. Kids up until the 50s merely did what there parents did. This movie was the first to challenge all this, to challenge class oppression and gender roles even, as there are women (shock, horror) as members of Chino's motorcycle gang. This could be the most exceptional piece of filmmaking that EVER happened. I guarantee you that in no matter what town you live in that if you walk down the street you will see some degree of influence from this movie on the people you encounter. Without this movie the following things would not be the same in society:

1) There would be no Rockabilly music of the same fashionable kind 2) There would have to be ANOTHER image of the rebel, possibly the James Dean created image of the rebel because this one would not be 3) There would be no movies the way they are today in terms of youth rebellion (this movie challenged censorship sensibilities) 4) The punk rock movement would be utterly different (Jesus Christ, Sid Vicious has Marlon Brando's jacket, not to mention The Ramones) 5) A lot of modern music, The B.R.M.C. for instance would not be the band they are

The point being made here is that the effect of this movie is beyond mere moviedom. It defined a times, it defined an actor (Marlon Brando), is was fresh and vibrant, it was a kick in the ass for those censors, those self appointed guardians of morality who dare to tell us what to watch and how to watch it and when to watch it. Since this movie a million movies in its vein have emerged, all defining their era. For the 60s there was Easy Rider and Head, for the 70s there was Stayin Alive, and Saturday Night Fever, For the 80s there was Falling Down and for the 90s there was a torrent of them, Pulp Fiction, Trainspotting, Human Traffic BUT, The Wild One was the first, the unadulterated masterpiece that is now an indelible mark on Hollywood, no American, no Western Culture that will for ever stand testament to the fact that, WE ARE SO F***ING COOL!!! (kids that is JJ)

"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).

Although it might look quite tame compared to todays standards at the time of it's release The Wild One was considered ground breaking stuff which upset it's fair share of people (it was banned in Britain for 14 years). However it helped inspire the era of rebellion which lead to such classics as the James Dean epic Rebel Without a Cause. It is also memorable for Brando giving one of his greatest performances as Johnny Strabler, leader of the rebellious biker gang the "Black Rebels". True he didn't receive an academy award nomination for his role but there's still no doubting the standard of his performance.

At the start of the film we are introduced to Johnny and his gang as they interrupt a race taking place. This leads to a confrontation with the local sheriff which results in them leaving elsewhere to cause trouble. However just as they leave one of the members of the gang steals a trophy that would be presented to the runner up of the race (the first prize trophy was too big to steal)and gives it to Johnny. This represents the respect the gang has for Johnny. Soon after the gang arrives in the small town of Wrightsville, it is here that the film divides into two stories. The first one focuses on the relationship that develops between Johnny and a local girl called Kathie. At first it appears that the two couldn't be anymore different, he's a rebellious free spirit and she's lead quite a sheltered life going by rules and discipline. But it is through Kathie that we get to know the real Johnny as it is revealed that behind all the macho bravado he is quite a lost insecure soul unable to emotionally communicate with anyone, which explains why he behaves as he does. It is a credit to Brando's performance as to how he is able to draw sympathy from the viewer for his character. As Kathie has lead a sheltered life she has always been looking in from the outside, she has a father who is the sheriff of the town but isn't respected by the other residents and is considered something of a joke.It seems he is just there to make up the numbers and shows no signs of law enforcement skills when called to deal with a problem. Kathie sees him as a fraud, just as she sees Johnny. The second story focuses on the conflict that develops between the residents of the town and Johnny and his gang,during which it is the residents of the town who come off as the bad guys and not the black rebels.

As i previously mentioned while this film might look quite tame compared to todays standards it is still worth a look if you get a chance. If not to see what all the fuss was about at the time, then just for Brando's performance which really is in a league of it's own.

There's really not much to the story. A motorcycle gang, led by Johnny Strabler (Marlon Brando), roars into a small town and kicks up a ruckus. The older townsfolk don't take kindly to the invasion, and Johnny becomes the object of their wrath. But Johnny is smitten with a young woman who happens to be a cop's daughter. "The Wild One" is a character study of a moody young man who starts out as a juvenile delinquent but changes as the result of a sad, mournful young woman.

Costumes play a big part in this film. Motorcycle gang members wear jeans, T-shirts, motorcycle caps, and heavy leather jackets. That's their uniform, which visually defines their rebellion. Johnny starts out in a leather jacket, and ends up in one. I don't think he ever takes it off through the whole film.

Visuals convey the impression that most of the film was shot on studio back lots. The streets and buildings all look fake. And the cinematography is helped not at all by the use of rear screen projection. Yet, the B&W lighting is quite good, especially in the second half, with high contrast noir lighting.

The film's score is annoying. I could have wished for some early 1950's songs. Plot pacing is poor. And the casting of some of the motorcycle gang is laughable. Some of the "juveniles" appear to be at least 30 or 35 years old.

"The Wild One" is remembered mostly as a cinematic vehicle for Marlon Brando, and because the film was something of a trend setter, in that it helped usher in an era of films about American juvenile delinquents, youthful rebel outcasts who didn't fit in to the post WWII era of middle-America family values.