Au bout de la nuit

Student traumatized by a rape is saved from suicide by a lonely mechanic, who feels she may be his last chance for happiness. Beguiling art film missed cult status by that much. Director Jack Garfien, who also co-wrote the screenplay with Alex Karmel from Karmel's novel "Mary Ann", and his wife, actress Carroll Baker, put everything on the line for this production, but it didn't connect with audiences at the time. It looks good today, however, and has an unusual, unnerving, voyeuristic quality. Baker and Ralph Meeker have intriguing chemistry, though the premise--that the mechanic keeps the girl like a wounded pet in his little hovel--is often creepy instead of romantic (although I'm not sure of the actual intention here). Incredible jazz score by Aaron Copland; striking black-and-white cinematography from Eugen Shuftan. A mixed bag, mostly effective. **1/2 from ****

Actually, New York,New York is the real star of SOMETHING WILD. Carroll Baker is lovingly lit throughout the whole picture(thanks to Director and then husband Jack Garfein)amidst the alternate squalor and splendor of America's greatest city.

The brutal rape of Miss Baker's character within the first 5 minutes of the movie is depicted with surprising frankness for its time. One can almost smell the sweat of the predatory thug who, without saying a word, viciously violates her. This scene is all the more harrowing in that there is no music soundtrack provided. Yet another example that The Hays Code was becoming by 1961 an historical document not reflecting the current mood of what the North American movie public was indeed mature enough to view on the silver screen.

I really enjoyed the kitchen sink realism of this picture, from the cattiness of the girls at Woolworth's against fellow worker Miss Baker(Doris Roberts nails her part for all it's worth) to the good natured slovenliness of Jean Stapleton's next door neighbor in the tenement slum.

Ralph Meeker(every man's meat&potatoes actor)is Carroll Baker's 'knight in shining armor' in this movie. Rescuing Miss Baker from a leap into despair and the briny deep, he then proceeds to hold her captive in his castle,or in this case a barren basement bed and...bed. "Mike" is an auto mechanic and yet he has no phone,no radio, and just one light bulb that illuminates the entire room. However, away from the elbow grease of his job, "Mike" likes to spend his hard earned money bending his elbow at the neighborhood bar. We see the staggering evidence on more than one occasion and poor Carroll, already victimized earlier now has to confront yet another man turned beast.

Of particular notice is Carroll Baker's wardrobe throughout this flick. She wears light-colored dresses and matching white pumps which, with her soft, flowing blonde hair, enhances her already luminous presence on screen. This is all the more striking in black & white,particularly during the location shots along the sleazy store fronts of 42nd St. Only at the movie's end does she wear a dark print dress and jet black high heels. Likewise in BABY DOLL, Miss Baker wore white until the final reel,after her climactic encounter with Eli Wallach,in which she then donned a black dress.

Parallels may be drawn between the two movies, but SOMETHING WILD is as valid today as a subway token. Some days you are lucky to find a seat,while on others you better hold on to the overhanging strap.

Rate this *** out of **** stars.

This movie is somber, downbeat, and really really weird. Many women hate this movie because of the ending. And for good reason. I guess you can say this is the kind of movie that leaves one with a bad taste in the mouth. It is the kind of movie where you want to scream at the characters--"what the hell are you doing?" But this film is hypnotic in its strange way. The performances are terrific, and the locations are stunning. They may not have been viewed that way 40 years ago, but today it is a kind of museum piece, very accurately capturing the atmosphere of New York City in the early Sixties. There is an excellent score by Aaron Copland, which was later released as "Symphony for a Great City." Since this was a low-budget movie, one really has to wonder how much he was paid to score this film. You also have to wonder why this movie was such poison for everyone associated with it. The author of the novel never wrote anything significant again. The director, Baker's hubby, faded away. Baker divorced him and Ralph Meeker hit the skids. Something Wild has many tragic dimensions, for both its characters and its stars.

I had never seen 'Something Wild' and I tuned in late on TCM last night. Perhaps I shouldn't review this at all, but I was taken by the 85% of it I saw. Already I feel stupid. This is a very compelling movie with some of the best actors around N.Y. at the time. Two wounded people. One of whose wounds are very apparent and the other more mysterious. It's a love story, but one I've never quite seen before. Two people very vulnerable and troubled who come together in odd circumstance, but find a sort of destined relationship based on gentleness, safety and mutual need. What starts out as claustrophobic becomes a safe place, a room of one's own. Carroll Baker made some of my favorite films of that time, and her then husband Jack Garfein, who co- wrote and directed, brings a tragic personal biography to his work. Ralph Meeker, a very fine actor who never got the roles and acclaim he should have is superb in this as a character I've never seen before in any film. Yes, a lot of time is spent in one shabby room, but that is what its about, isn't it? Mildred Dunnock? Well there was never anyone like her. Aaron Copeland contributed a magnificent score and the cinematography is seamless with the story. Enigmatic ending, perhaps, but that's life. I found it perfectly true to the characters.

"Something Wild" tells a very simple story. A young woman is raped and her whole world falls to pieces. She is saved from a suicide attempt by a lonely young man who helps her to heal. It's not such an exceptional tale. You could even apply to it that famous line from the TV series "The Naked City": "There are eight million stories in the naked city. This has been one of them." We are witness to some very personal and intimate moments in the lives of two people whose ability to feel has been smothered. The woman has had her whole being violated. The man, craving love, tries to hold onto her. The two actors, Carroll Baker and Ralph Meeker, certainly are game, but I was uncomfortable with the second half of the film both times that I watched it. The two lead actors sometimes seem stranded in scenes that are quite stagey, and some lines, especially Meeker's "you're my last chance", land with a resounding clunk. Although the woman might still be suicidal, and would-be suicides can be quite devious, I just didn't buy the hostage situation (or the ending), and it was repugnant to me, anyway. It was, essentially, the old cliché of the controlling man telling the woman: "Do as you're told, because I know what's best for you." For a woman traumatized by rape that can hardly be reassuring.

This film is helped immeasurably by its low budget and on-location shooting in New York City. No amount of studio fakery could duplicate the ethereal majesty of the Brooklyn Bridge or the teeming streets of the tenements, or the interesting clutter of a five-and-dime store. The first half of the film, depicting the rape and the woman's trauma, following it, is gripping and believable, in no small way due to Baker's performance, though the film's view of humanity struck me as rather misanthropic. The work of Saul Bass (titles) and Aaron Copland (music) felt as if it was created for a more hyper urban drama than this intimate piece, but Eugen Schufftan's cinematography was obviously a labour of love.