Wild in the Streets

I was curious to read some reviews of Wild in the Streets from when it was released (i.e. Ebert's) to get an idea of what the movie was thought of at the time. There was a good line that nails what is probably at the core of the film, which is "the fascist potential of pop music," but it can be taken a step further to what the fascistic potential is of anyone who appeals to a section of the culture that can be galvanized. The movie wasn't well received- it was, granted, an AIP picture dumped on the masses as a hippie exploitation flick along the likes of Psych-Out- but now in looking back I wonder if the writer, Robert Thom (also responsible for the cult classic Death Race 2000) and director Barry Shear (mostly a TV director) were much ahead of their own audience. It skewers the old and politicians, yes, but it also skewers pop music and LSD and hedonism and even communism to a certain extent. It's a fun, absurdist nightmare 'trip' on what would happen if the "kids" took over, which leads eventually to the question: what happens when they're too old.

Four sentence summary: Christopher Jones plays Max Frost, a pop star who had one of those shaky childhoods that led to a lot of acid and blowing up his parent's car. His band, a bunch of Monkeeys rip-offs (yes, that's right), are filled with a bunch of who's whos, like a 15 year old super-genius account and a black anthropologist played by Richard Pryor. At a political rally for a "youth" senator (Hal Holbrook) who wants the voting age lowered to 18, he comes up off the bat with a rallying song, "14 or fight" to lower the voting age to 14! And then everything soon spirals into a youth-controlled congress and presidency (think Mr. Smith Goes to Washington with over-ecstatic flower children), with all the "old" pulled into camps where they're doped on acid and given frocks to wear.

Trippy, man, trippy. Contrary to what some have said, and perhaps I read more into it than was necessary or warranted, Wild in the Streets takes a hold of its principal subjects as something that is meant to be mocked mercilessly. While nowhere near the brilliance of Network, it does have the same kind of super jaded view of humanity below the surface. Everything becomes so exaggerated that the only conceivable way to take it is as a satire; if it is meant as a "serious" look at politics and the youth culture then only a few moments stand out (actually the "Shape of Things" song is ironically powerful in the context of where it comes which is right after a few students are shot at a rally - a foreshadowing to Kent State?), but on its terms of it being a nutty but oddly lucid spoof on the political scene then it works really well.

If for nothing else the cast is a hoot: Shelley Winters hams it up as the star's mother who in one scene literally crashes through security gates to get to her son who really doesn't want anything to do with her, especially after she basically kills a kid with a car! Also big props to Hal Holbrook who takes the quasi William Holdon in Network role (the one "serious" guy amid the chaos) and Ed Begley as a crusty old politico who quickly gets run out to the old-folk farm singing in circles. Along with Pryor look out for Larry Bishop and Millie Perkins. It's not high art, but Wild in the Streets has some scenes that are excruciatingly funny (I was dying during the 25 year old "chick" speaking to congress about lowering all ages to run for office to 14), and there's even some good pointers made about the state of the nation. It's exploi-satire, baby!

I saw this movie in the theater a week or so after my junior year in high school. It was my first date where I was allowed to drive. The film received a lot of fanfare, aimed entirely at my generation. I went with high expectations and was of course disappointed. I think it was supposed to be some kind of Hollywood version of a social protest film, set in a slightly tongue-in-cheek spirit. It came off as just goofy. I thought it was goofy at the time, when I was 17 and almost anything designed especially for me I perceived as at least a little bit cool and hip. But not Wild In The Streets. Nope.

Some folks might think it has acquired some kind of cheeky flavor to it that makes it a good film, you know, like Plan 9 From Outer Space is supposedly a good movie too. But nope, Wild In the Street is simply a below par film, and for that matter, so is Plan 9.

When this came out in 1968 I was 17. It made a huge impression on me then. What a wild and strange movie. I was not really ready for this movie but I liked it just the same. When Max said 14 or fight, I believed him. Of course at 17 I couldn't vote but I was facing 18 and at that time the Vietnam draft. Scary times indeed. Just the other night it was on TMC and I recorded it. I don't think I've seen it anywhere since. It was fun to watch it again, Shelly Winters looked really young, Ed Begley was perfect as the stoned out old Senator and Christopher Jones, going from rock star to politician to President and then to "old guy" played the part to a tee. The only thing about this movie I didn't care for was that it type casted Jones and he really didn't do much after this movie.

This film is a time warp of Los Angeles and the Sunset Strip in the 1960's. At first sigthing on the FLIX Channel I thought the actor was James Dean. Uncanny resemblance.

Richard Pryor as the drummer in a rock band getting high on LSD with topless white chicks must of been mind blowing for teenagers then. I missed this film totally in 1968. My parents probably made sure of it.

To see Daily Variety columnist Army Archerd, and the greatest lawyer in the nation at that time, Melvin Belli, playing themselves in a film with a whacked out Shelly Winters was just amazing.

The real night time Sunset Strip cruising footage of 1968 was really "far-out man".

Nobody could crank'em out like AIP, nobody. Done on a surprisingly big budget, this is one of the company's most fun pictures. It is a classic portrayal of the late '60s and has a great script and performances. The songs are a lot of fun, and Les Baxter's delirious underscore, especially when Shelly Winters is sent to the LSD old folks home, is truly unique, proving him once again to be one of the most underrated composers working in films in the '50s and '60s.