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La rue chaude

Original title: Walk on the Wild Side
  • 1962
  • 12
  • 1h 54m
IMDb RATING
6.7/10
3.3K
YOUR RATING
La rue chaude (1962)
DramaRomance

Poor lovesick white-trash Dove Linkhorn arrives in New Orleans searching for his former girlfriend Hallie Gerard, an artist who works in The Doll House brothel, whose madam Jo Courtney consi... Read allPoor lovesick white-trash Dove Linkhorn arrives in New Orleans searching for his former girlfriend Hallie Gerard, an artist who works in The Doll House brothel, whose madam Jo Courtney considers her girls to be her property.Poor lovesick white-trash Dove Linkhorn arrives in New Orleans searching for his former girlfriend Hallie Gerard, an artist who works in The Doll House brothel, whose madam Jo Courtney considers her girls to be her property.

  • Director
    • Edward Dmytryk
  • Writers
    • Nelson Algren
    • John Fante
    • Edmund Morris
  • Stars
    • Laurence Harvey
    • Capucine
    • Jane Fonda
  • See production info at IMDbPro
  • IMDb RATING
    6.7/10
    3.3K
    YOUR RATING
    • Director
      • Edward Dmytryk
    • Writers
      • Nelson Algren
      • John Fante
      • Edmund Morris
    • Stars
      • Laurence Harvey
      • Capucine
      • Jane Fonda
    • 72User reviews
    • 34Critic reviews
  • See production info at IMDbPro
  • See production info at IMDbPro
    • Nominated for 1 Oscar
      • 1 nomination total

    Photos42

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    Top cast35

    Edit
    Laurence Harvey
    Laurence Harvey
    • Dove Linkhorn
    Capucine
    Capucine
    • Hallie
    Jane Fonda
    Jane Fonda
    • Kitty Twist
    Anne Baxter
    Anne Baxter
    • Teresina Vidaverri
    Barbara Stanwyck
    Barbara Stanwyck
    • Jo Courtney
    Joanna Moore
    Joanna Moore
    • Miss Precious
    Richard Rust
    Richard Rust
    • Oliver
    Karl Swenson
    Karl Swenson
    • Schmidt
    Don 'Red' Barry
    Don 'Red' Barry
    • Dockery
    • (as Donald Barry)
    Juanita Moore
    Juanita Moore
    • Mama
    John Anderson
    John Anderson
    • Preacher
    Ken Lynch
    Ken Lynch
    • Frank Bonito
    Todd Armstrong
    Todd Armstrong
    • Lt. Omar Stroud
    • (as Todd Anderson)
    Sherry O'Neil
    • Reba
    John Bryant
    John Bryant
    • Spence
    Kathryn Card
    Kathryn Card
    • Landlady
    Murray Alper
    Murray Alper
    • Diner in Teresina's Cafe
    • (uncredited)
    Steve Benton
    • 2nd Van Driver
    • (uncredited)
    • Director
      • Edward Dmytryk
    • Writers
      • Nelson Algren
      • John Fante
      • Edmund Morris
    • All cast & crew
    • Production, box office & more at IMDbPro

    User reviews72

    6.73.2K
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    Featured reviews

    7moonspinner55

    Love for sale in New Orleans...

    Laurence Harvey is terrific as a penniless Texas cowboy who hitches his way to New Orleans in the 1930s in search of a lost summer love, a French artist who--unbeknownst to him--is now working at a bordello; Barbara Stanwyck is the madame at the Doll House, married to a crippled tough but with heavy lesbian leanings towards Capucine, the girl who broke Harvey's heart; Jane Fonda is pretty good as a teen tramp who also ends up working for Stanwyck, and Anne Baxter is a proprietress of a diner who takes Harvey in. Though based on a novel by Nelson Algren, this screenplay sometimes plays like sub-Tennessee Williams, with the rather laughable story-conceit that New Orleans was just another small town in the '30s (walk up the street and you've seen it all!). Capucine, haughty and breathless, matches up well with Harvey, and her run-ins with benefactor Stanwyck are heated, but those hoping for some crackling gay subtext will be disappointed (Barbara's inclinations aren't hypothetical, but she's hardly out of the closet). There are some good, fruity lines of tough-talking dialogue and also some sentimental moments with surprising resonance (as when Baxter says, "Why can't two people care about each other...without the world making it dirty?"). Of course it's Hollywood-ized, with a camp score by Elmer Bernstein and Joanna Moore in the clichéd role of the good-hearted tootsie who gets taken for granted. But Fonda has a great scene near the end when she helps Capucine out of a jam, and Harvey makes a big impression on the audience without overstating his sleek handsomeness. *** from ****
    7Boomer-51

    Old style meller trying to bust out of its Production Code corset.

    This film is strangely reminiscent of Pre-Code Barbara Stanwyck pictures like 'Baby Face' or 'Women They Talk About.' But, what makes the film so much fun is its marvelously fractured casting. It's rumored that the film owes its existence to Capucine. Charles Feldman, the talent agent, mounted the production to showcase his protégée and (some say) girlfriend. She's quite a beauty, but what makes her performance so remarkable is that she's totally oblivious to the fact that she doesn't belong in this film.

    Laurence Harvey has the Southern accent down. And, as for Jane Fonda, this was the one break in her endless string of coy sex kitten roles from the sixties where she proves she can act. Some say she overdoes it, but I think she provides the real spice in this film.

    In the midst of this batch of newcomers hobbled together from around the world (although they're all playing indigenous Southerners) are two pros trained in the old Hollywood studios. This is hardly a high point for Barbara Stanwyck. But, she proves that you can put her down anywhere - in a screwball comedy, a tearjerker, a hard-boiled film noir, or a TV western - and she can hold her own.

    Anne Baxter acquits herself well in the thankless task of playing a humble Mexican. Probably less well known for her accomplishments than Stanwyck, she won an Oscar for playing one of the greatest dramatic arcs given to an actress in the forties in "The Razor's Edge." These two pros give some dignity to a film that easily could have degenerated in to laughable kitsch.

    This film is notorious for its overt portrayal of a lesbian character. But, it actually has a more interesting gay connection. Fonda, against the prohibition of director Edward Dymyrik, was secretly being coached in her dressing room by her 'secretary' and live-in boyfriend Andreas Voutsinas. Six years later, he would set a new benchmark for outrageous mincing queens as Carmen Ghia in Mel Brooks' "The Producers."
    6Lechuguilla

    The Big Tease In The Big Easy

    This film has a dynamite opening. A real life black cat prowls around a maze of pipes and fences, as Elmer Bernstein's jazzy musical score blares out the film's title song, a haunting invocation to low life everywhere.

    Throughout, both the music and the B&W cinematography evoke a noirish, downbeat mood totally in sync with the film's theme of embittered sleaze. Although set in the 1930's, the film looks and sounds more like something from the hip, "beat" generation of the 1950's. And I'm comfortable with that.

    What I'm not comfortable with is the casting and the screenplay. Lithuanian born Laurence Harvey is totally not convincing as a Texas tramp. French born Capucine, looking like she just walked in from the set of "La Dolce Vita", seems lost in the role of a Southern belle. A somewhat inexperienced Jane Fonda overacts the role of Kitty Twist. And American Anne Baxter, looking more like Suzanne Pleshette than Anne Baxter, plays a Mexican senorita, with the help of a big wig. Among the major roles, the only credible cast member is Barbara Stanwyck, as the bossy owner of the Doll House, your typical red light house of prostitution.

    The film's red light title is a big tease. It advertises brothel life, but the screenplay delivers only boredom and preachy morality. But in 1962 the moralistic Hays Code still exerted influence on what Hollywood could say and show. The result here is a yellow light plot that merely hints at sleaze.

    Forty years after its release, "Walk On The Wild Side" does have entertainment value, both as a curious period piece, and as a sudsy soap opera with some campy dialogue, helped along by the always engaging Barbara Stanwyck.
    8preppy-3

    Fun trash

    In 1930s New Orleans Texan Laurence Harvey (!!) finds one time lover Capucine (!!!) working in a bordello. He wants to take her away, but the bordello's lesbian madam, Barbara Stanwyck wants Capucine for herself. Then there's Jane Fonda as a real wild girl...

    Film starts off with a great title sequence that perfectly sets the tone of the film--loud, brassy and dirty. This was probably considered pretty controversial it its time (in fact it's never made totally clear than Stanwyck is a lesbian, but there are hints all over the place), but it's a camp classic now. It's sleazy but lots on fun with tons of campy dialogue to spare. Apparantely this film had a very whimsical casting director--Harvey (an English actor) and Capucine (a French actress) play Texans and Anne Baxter (in a black fright wig) is a Mexican!

    The acting varies--Harvey is just OK with a credible Texas accent; Fonda is really great projecting raw sexuality; Capucine is beautiful but wooden; Stanwyck chews the scenery in a very amusing way and Baxter turns in a very moving and great performance.

    Lots of fun with the right crowd--I saw it years ago with a gay and lesbian crowd and we laughed all the way through it!
    blanche-2

    Sluts on the Wild Side

    Barbara Stanwyck, Jane Fonda, Capucine, and Laurence Harvey take a "Walk on the Wild Side" in this 1962 film directed by Edward Dmytryk, based on the book by Nelson Algren. One reason the film is memorable is the title song by Elmer Bernstein.

    The 1930s story begins with Dove Linkhorn (Harvey) meeting Kitty Twist (Jane Fonda) as they're both traveling out of Texas by the cheapest route possible. Though Kitty has the hots for Dove, he's headed for The Big Easy to find his girl Hallie (Capucine). It turns out that Hallie is working at the Doll House, a brothel run by lesbian Jo Courtney (Barbara Stanwyck) who is in love with Hallie and giving her the good life. Before Dove finds her, he winds up working at a café run by Teresina Vidaverri (Anne Baxter), who falls for him. When he finally connects with Hallie, he finds out that Kitty is now working at the Doll House too.

    For some reason this film seemed like it was cut to ribbons. It's very disjointed. Fonda appears in the beginning and then drops out for what seems like an hour. Though she's certainly a beautiful woman today, seeing this film is a reminder of just how dazzling she was. Her acting is effective if a bit over the top, though she doesn't get a lot of help from the script. Stanwyck is excellent as a tough woman made vulnerable because of her love for Hallie.

    In fact, Stanwyck and Fonda are the only two who are well cast in this movie. The rest of them seem as if someone pulled their names out of a hat. I mean, Laurence Harvey as a Texan? And because this film is produced by Charles Feldman, that means Capucine gets to come along and give one of her cold as ice, monotone-voiced, frozen-faced performances. We have no idea why Dove fell for her and why Jo loves her. But then, we didn't understand Franz Liszt falling for her in Song without End either. And, though the film is set in the '30s, again thanks to Mr. Feldman, Capucine wears the latest Pierre Cardin fashions.

    I'm sure that in real life, Capucine (known as "Cap" to her friends) was a lovely and warm woman - Dirk Bogarde was crazy about her as a person, William Holden I believe was in love with her, and she was a good friend of Audrey Hepburn's - but she just never projected much on screen. Her casting here is woeful.

    Anne Baxter does the best she can with her role.

    The film is a real old-fashioned melodrama. In the end it doesn't really draw you in and it seems like a lot is missing. It's a miss, but a high budget one.

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    Storyline

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    Did you know

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    • Trivia
      Several contemporary reviewers mentioned that, although the film was set in the 1930s, Capucine seemed to be wearing contemporary (1962) fashions. Director Edward Dmytryk stated that it was because she was the "protégé" (i.e., live-in girlfriend) of producer Charles K. Feldman, who decreed that, despite the film's 1930s setting, she would be dressed in the latest Pierre Cardin designs.
    • Goofs
      The jukebox in Teresina's diner is a Wurlitzer model 1015. The 1015 was a post-war model produced from 1946 through 1947 and would not have been seen in the Depression.
    • Quotes

      Preacher: Jezebel! That's right, I mean you! Now both of you sinners are hurrying past.

      Dove Linkhorn: You got no business with us mister.

      Preacher: Oh, sinners is my business. You and that hip-slinging daughter of Satan. You know there's the smell of sulfur and brimstone about you. The smell of hellfire.

      Dove Linkhorn: Who ordained preacher?

      Preacher: I am self-ordained son; I had the call.

      Dove Linkhorn: You were called by the wrong voice mister.

      Preacher: Lord strike this sinner down. Send a bolt down to smite and consume the blasphemer now!

      Dove Linkhorn: He won't hear you. Cause you no friend of God or man - standing there hollering hate to the world. God is love. God is mercy and forgiveness. Try preaching that sometime Mr. Preacher. Teach people to forgive, not to crawl in fear. Teach people to love, not hate. preach the good book - preach the truth.

    • Crazy credits
      The opening and closing credits are shown tracking a black cat as it prowls an urban landscape. The closing credits feature a newspaper reporting the Doll House residents' arrest and conviction.
    • Connections
      Edited into Bass on Titles (1982)
    • Soundtracks
      Walk on the Wild Side
      (uncredited)

      Music by Elmer Bernstein

      Lyrics by Mack David

      Sung by Brook Benton

      [Played as Hallie walks down to the first party shown at the Doll House]

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    FAQ

    • How long is Walk on the Wild Side?Powered by Alexa
    • Hedda Hopper Wrote What About "Wild Side"?
    • World Premiere Took Place When?

    Details

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    • Release date
      • April 27, 1962 (France)
    • Country of origin
      • United States
    • Languages
      • English
      • French
      • Spanish
    • Also known as
      • Por los barrios bajos
    • Filming locations
      • French Quarter, New Orleans, Louisiana, USA(Several street shots.)
    • Production company
      • Famous Artists Productions
    • See more company credits at IMDbPro

    Tech specs

    Edit
    • Runtime
      1 hour 54 minutes
    • Color
      • Black and White
    • Aspect ratio
      • 1.85 : 1

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