Der Wilde

"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).

Brando is his archetypal mean and moody self, as the original rebel on a motorcycle terrorising smalltown America. The enduring iconic images from the film have weathered better than the film itself, however, but it still stands up as a paean to disaffected youth.

When Johnny and the boys ride into town all hell breaks loose, with a culture clash between themselves and the 'squares', resulting in tragedy and some reconciliation. These boys look tame compared to today's standards (they even pay for their own beer!) but they don't fit in and so are immediately ostracised by a grown-up world that doesn't understand their jive-talking, anti-social behaviour. Johnny's reply when asked, "What are you rebelling against?" says it all..."Whatta you got?", with a sneer for good measure.

Time hasn't been kind to the film, and it's hard to see why it was banned in the UK for 18 years (mainly down to the lack of any retribution for the gang), but there is still a tight story and strong characterisation. It's a pity the film descends needlessly into melodrama, losing much of it's credibility in the process.

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.

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?"

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.