Graine sauvage

America must have been asleep at the wheel when this movie came out - Michael Parks was one of the best emerging actors of the time - in the footsteps of James Dean and Marlon Brando - just a bit more sane and unlikely to be self-destructive. Yes, back to the movie - the plot was simple, but the character development, the cross-country journey, spoke to the angst of the American youth in post-World War and pre-Atomic Apocolyptic era. Love began to take on new relationships and new meaning, and the USA class-caste system began to breakdown along the lines of the theme of this movie in that very decade. Good luck trying to see this one - can't find it anywhere - it is just a great black-n-white movie that will forever be in color in my mind.

Universal released some odd balls during this period, in a faint attempt at developing new talent and making some higher-brow pix.

They tried to give "Wild Seed" the art house treatment by having the world premiere at the short lived Playboy (yes, that Playboy) theatre in Chicago on May 5, 1965. Some dates were in the midwest that summer, and it was often double billed with "McHale's Navy Joins the Air Force". All in all, this film barely had a release and is VERY obscure today. How did you people even see it?

Back in 1967 Wild Seed received a TV showing on one of the networks' night at the movies. I was so delighted with Michael Parks' performance, I went out of my way to see the film again at a second-run movie house. This is a film which should still be available. It's surely one of Parks' best cinematic appearances and makes one wonder how his career never really took off. (Perhaps he figured after playing Adam in The Bible, he'd given his all to start mankind on its road to perdition.) This would be a great movie to receive the Anchor Bay DVD treatment. In truth I remember the actual details of Wild Seed rather sketchily but the character of the drifter has remained in my memory for four decades. Wild Seed is a realistic depiction of alienation and redemption.

The great Conrad Hall (the original Outer Limits) photographed Wild Seed in black & white and his mastery of light and shadow fit the noir mood of this melancholy story. The late Michael Parks is excellent and Celia Kaye in an early role perfectly projected the innocence of am earnest young girl inexperience in life. An experienced actress would have come across as artificial and "Hollywood." Their growing love story is completely believable. The direction by Brian Hutton is effective. Much of the story takes place on freight trains which gets a little tedious but the logistics of shooting these sequences had to have been complex and somewhat dangerous. It was produced by Marlon Brando's production company and it would not have been a stretch to see a 50s era Brando take the Parks role but not in 1964. Parks was more Dean than Brando in demeanor and it's hard to understand why Then Came Bronson hasn't been released on DVD when every piece of junk is. Turner Classics made a bad decision to pair this with Parks' and Ann- Margret's Bus Riley's Back In Town for a 2AM showing Nov. 25, 2017 on TCM Underground instead of giving it an 8PM time slot with a guest when more people would have tuned in to appreciate this little-seen gem. These films are all wrong for Underground which focuses on psychotronic, whacked-out films.

This was a better movie than I was expecting; Michael Parks is extremely good as the young drifter (I was astonished that this was his first film) - it makes it that much more disappointing that his career didn't take off at all. He's very effective in showing both the protectiveness and vulnerability of the character, and really shines when the camera holds on him for a long time. On the other hand, Celia Kaye's performance didn't really strike me as anything special. There were moments when it struck me as fairly amateurish (in an unintentional way). The film is well directed and the supporting performances were quite good, although this is essentially a 2-person film. It's also VERY beautifully photographed by Conrad Hall; it's no surprise that his career took off after this debut feature, leading to movies like The Professionals and Cool Hand Luke right afterward. He had an excellent eye for the sweeping outdoor locations, and a lovely, delicate touch in the more intimate scenes. The script and dialogue are very moving as well, and completely believable in all situations; the exchanges between the older and younger characters are very well-written. Although not particularly surprising or unusual in setup or plot, it's altogether a very moving and touching story - a strong 7 of 10, close to an 8.