The Wild Ride

This early Jack Nicholson film sees him playing Johnny Varron; a would-be motor racer who, when he isn't on the track, likes nothing better than playing chicken on the public highways. If others get hurt he isn't concerned. In the opening scene he causes a police motorcyclist to crash; he is fairly casual about it as the police can't prove he was involved. He hangs out with friends who share his attitudes however tensions in their group is rising because they think Johnny's friend Dave is dating the wrong girl. Inevitably their actions will have consequences.

This isn't a great film; it was never meant to be. It is an exploitation film centred on some fairly unsympathetic characters and the plot is far from deep. That isn't to say it is bad though; there are some exciting scenes, most notably the race sequence. The interaction between Johnny and his friends feels a little forced; perhaps because the sixties language feels dated or perhaps because it is what the writers thought young people spoke like. Jack Nicholson does a solid job as Johnny; it isn't his best work by a long way but he has the right attitude for the character; there is a sense of danger about him which fitted the role. The rest of the cast are more mixed; some good some rather less so. Overall this is a decent film that I'd recommend to those who are interesting in older films that aren't classics.

These comments are based on watching the original black and white, sixty minute version of the film not the longer, colourised 'Velocity'.

Okay, this is not classic film-making. It has its moments though. Jack Nicholson is about as young here as I can recall seeing him - almost young enough to pull off the teenage-or-just-past delinquent role he plays. The dialog is pretty full of then-current clichés and words, so that part can be a little bit amusing. There isn't a whole heck of a lot to say about this movie, either you like late 50's teen/delinquent movies or you don't. I kinda like the '57 Ford convertible Nicholson drives in this movie. I guess they made tons of this kind of movie back in the day, because kids had little to do for evening entertainment other than to go to the drive- in week after week, and the theaters needed fresh fodder to keep the teens showing up. Well, it's a period piece, don't watch it for any great entertainment value, just watch it to see a somewhat exaggerated view of what life was like back when and let it go at that.

What a bore following the antics of the teenage guys and gals as they wander aimlessly around. Whoops! I mean what a trip digging the scene with the super studs and their hot chicks. Hey man, it's real cool eyeballing head stud Nicholson laying rubber down the road or on the track. Too bad about his buddy Dave 's wanting to go suburb with his nowhere chick, uptight Nancy. But our head man will straighten him out. That is, if the fuzz don't nail him first.

Kidding aside, it's an ultra-cheap teen flick with Nicholson and a no-name cast, filmed entirely on anonymous location. I'd be surprised if it took more than five days total. Moreover, the scenes never depart from the kids and their antics; at the same time, there's no real plot except for a conflicted Dave feeling a need to go conventional. Nonetheless, it's rather competently directed and performed for a bunch of no-names. Heck, there's not even much campy about the 60-minutes, just a lot of aimless wandering around. Looks like the producers understood Nicholson as an up-and-comer and fashioned a drive-in quickie around him. Anyway, the dialog amounts to little more than what's supposed to be cool hipster lingo of the day, so be prepared, man.

Jack Nicholson has done better and most likely not done worse.

He's a punky teen hot-rodder exhibiting all the characteristics of a 1959-1960 juvenile delinquent. He's sore at his best buddy for hooking up with a girl who's not into the beatnik punk-kid scene and not eager to let her new guy stay this course to disaster. Best buddy is waffling between going straight and staying with the witless crowd. Nicholson exhibits a weird sort of subconsciously gay relationship with best buddy by trying to place a wedge between the gal and the pal.

Ending is totally out of context with the morals of this leader of the pack, but necessary for the film to have sociological value. Lots of fun to watch just for the wild slang.

Sure, the first reason to see The Wild Ride (or, unfortunately as it sounds, the 're-cut' Velocity which for some insane reasons extends the story) is for Jack Nicholson. It's arguably his very first 'bad-boy' role in a career with more than enough to go around. He's still got a long way to go from here, but it's fun seeing him go practically method about his character Johnny (apparently Nicholson just started with Martin Landau at the time as his teacher), as he tries to sway Robert Bean's Dave from going the not-hip route with a girl who isn't part of 'their scene' as it were. There's tension, there's some fall-out, and in the end there's some overly high pitched melodrama following a chase down a road. Nearly embarrassing to admit it, but for those who will seek out the movie for that reason, as I did, it's not that bad (as in *as bad* as some of his other B-movie work like The Terror and Rebel Rousers).

Hell, I'll even give one-time-only director Harvey Berman some credit: for a picture that's main dramatic thrust is dictated mostly by the same beef between Biff and the McFly's in the Back to the Future movies ("What's wrong? Chicken?" "Nobody calls me chicken!"), the Wild Ride does provide the cheapest thrills necessary with a picture that (thankfully) doesn't even run an hour's length of time. It gives a halfway decent race-car sequence, and some nifty music in the end climax (if not, of course, throughout). There's even an oddly coincidental opening bit to the movie with that of Breathless, also released in 1960, with a rebel and a cop on his trail (albeit this on takes itself seriously, while Godard's parody).

It's a silly bit of teens-and-hot-rods exploitation that is still riding out whatever fuel is left from the 50s via the Wild One and James Dean. It's tender moments are like tender cuts of lamb, and its dialog is as pulpy as a moldy orange. And shame on me, perhaps, for almost liking this diddle of a B-movie; at the least it features something I've never seen before in another movie I can think of, which is a guy working at a liquor store asking if the young man Johnny has ID, he says yes, guy asks to see it, and Johnny says a simple 'No.' 5.5/10