Les troupes de la colère

This film is a fascinating time capsule of late sixties fashions, music, and mindsets, as essential to an understanding to the culture of the times as BLOW-UP and BEDAZZLED. Like the decade itself, the film is funny, political, satiric, irreverent, colorful and groovy. No really. The movie involves Max Flatow, an angry teen who blows up his parent's car and runs away from his push-over father and clinging mother to become a rock star and multi-millionaire. Now flanked by a group of hangers-on/band members that include a washed-up child star-turned-druggie(Diane Varsi), a one-handed horn player(Larry Bishop), a gay business manager(Kevin Coughlin), a fourteen-year old Japanese typewriter heiress, and black militant drummer(Richard Pryor!), Max Frost, as he is now known, endorses a self-serving young senatorial candidate(Hal Holbrook, in a role that now undoubtably makes him cringe)hoping to court young voters. But Max has his own agenda, using the newly-elected senator to have Varsi elected to Congress and propose legislation that the voting age be lowered to 14!Max laces the Washington water supply with LSD, then he and his cronies enlist teenagers to escort the stoned Congressmen to the voting booths. With the voting age lowered, Max gets himself elected President and outlaws anyone over 30, sentencing them to concentration camps where they're kept perpetually stoned on LSD.

The whole premise belies the generational tensions that laid just below the surface of everyday life in the late sixties. What looks like far-fetched camp now was very much a concern to the older people who felt overwhelmed by the predominant youth culture of the time. Still, it is a fun romp. The musical sequences are eye-popping precursors to MTV, with psychedelic light displays and cutting edge(for 1968)graphics, and the camera angles and editing are top-drawer(the film was nominated for an Oscar for editing). Yet the film does have a good deal of camp, primarily in Shelley Winters, out of control as Max's overbearing mother. Winters was well into the insane/conniving/perverted mother stage of her career(starting with LOLITA and ending with WHO SLEW AUNTIE ROO)and she hits her stride here: she not only chomps the scenery but gobbles it down and goes for seconds! Everyone has a favorite scene: Winters commandeering the wheel of Max's Rolls and rolling the car, killing a small boy in the process; Winters in a long blonde wig and hippie get-up, extolling the virtures of LSD therapy; Winters(about five minutes after the last scene)in a pill box hat, suit, and finger waves haughtily telling a reporter about her recent appointment as U.S. Ambassador to England(?!); and my personal fave, with Winters, disheveled and whacked out on LSD, wearing a hospital gown and scaling a chain-link fence as she screams, "FEATHERS! I MUST HAVE FEATHERS!!" Whatthehell??

The movie was on video at one point, but may be out of print. AIP, that teen fare sausage factory, put this one out, and it supposedly got a bigger budget that their average flicks. It also made quite a bit of money. A true cult classic, and, did you know, the theme song, "Shapes Of Things To Come" was released as a single credited to Max Frost and the Troopers? It charted at #22 in 1968!

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".

My high school buddies and I drove into Chicago to watch this the day it opened in 1968 and were not disappointed. On the way, WLS AM radio played "Jumpin' Jack Flash", which was the first time any of us had heard that tune. I think we may have inhaled some contraband, but I remember this day like it was yesterday. It was good to be "young, dumb and full of ***!" (-to quote Mr Busey, from Point Break.)

Some epic bits from this movie: 1) Richard Pryor spikes the DC water supply with LSD, resulting in a congress-full of hopelessly tripped-out Senators and Representatives. 2) Ed Begley and Shelley Winters wander about in flowing robes and caftans at the "Acid Concentration Camp" for people over 30. 3) Extremely young Billy Mumy confronting the great lout, Max Frost and declaring "We're putting everyone over 8 out of business!" 4)Diane Varsi cavorting nude in a fountain 4) Future Brady Buncher Barry Williams as the young terrorist Max.

See, this is one highly-lacking-in-credibility enterprise, but you have to love it. Watch and remark to yourself how this movie could only have been made in that halcyon year, 1968. Nothing this wonderfully over-the-top crazed and ridiculously sublime has been made since nor will ever grace the screen again.

For comparison (and companion) purposes, view this superb teen psychodrama in series with other 1968 befuddlements such as: "Planet of the Apes", "2001: A Space Oddysey", "Rosemary's Baby", "Putney Swope" and "The Savage Seven".

Christopher Jones only immortal role was the highly Hitleresque rocker, Max Frost.

Jeez, gimme the DVD already! This glorious cinematic potato is out of print!

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!

Wild in the Streets

The problem with teenagers voting is that they loiter around the ballot box afterwards.

However, the adolescents in this musical are more apt to through a dance party.

Subversive since infancy, Max Frost (Christopher Jones) now fronts a successful rock group of astute teens (Richard Pryor, Kevin Coughlin, Diane Varsi) that Senator Fergus (Hal Holbrook) would like to partner with.

But before he'll endorse the policymaker, Frost wants Fergus to lower the voting age to 14, or else Frost's fans will riot.

Eventually, Frost uses LSD to win the US presidency and send everyone over 35 to internment camps.

An outlandish cautionary tale about the social tensions affecting sixties youth, this cult classic may have some trippy ideas and seriously catching tunes, but its message of dissent is drowned out by all its bell-bottomed kitsch.

Regardless, what good is the vote at 14 if you can't go binge drink afterwards?

Yellow Light

vidiotreviews.blogspot.ca