Wild One | Marlon Brando, Mary Murphy | I AIN'T JIVIN. . . BRANDO DOES ROCK!!!!!!!!!!!!!!

Wild One | Marlon Brando, Mary Murphy | Cheesy plot but Brando rocks

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Wild One

	Wild One Marlon Brando, Mary Murphy Sony Pictures, 1997 average customer review:based on 56 reviews view larger image
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highly recommended

I AIN'T JIVIN. . . BRANDO DOES ROCK!!!!!!!!!!!!!!

I would have to agree with other reviewers that this film is rather corny, but for its time it was revolutionary. Throughout the film I must admit I had several laughs with lines such as, "You're too square" and "Anybody thinks their too good for me, I knock 'em over sometime". And phraseology such as "that's corn ball style". And Brando's faux black accent put me in mind of a 1970's blaxploitation movie, especially with the continual use of the word "jive". Nevertheless, Brando's deliverance is awesome, everything from his facial expressions and gestures to his timing is perfect. The man is stunning in this film. It's hard to take your eyes off of him, but then again, why would you want to?!! Highly recommended!

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Cheesy plot but Brando rocks

Being a huge Godfather fan, I have been curious since Brando passed away to see more of his films. Caught this one tonight on TMC. My dad warned me to remember when it was made before I watched it. I am glad he did because I probably would have thought that it was horrible and instead I came to realize that Brando was a brilliant actor! Yes, I have to agree that there is a lot of 50's cornball BS but Brando was so good in this film that it makes me truly sad to think of the crap that is made in Hollywood nowadays. Oh she has a hit single let's put her in a movie! Yeah that almost works! Looking forward to checking out more of Brando's work!

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Attitude is Everything

The gangs appear to have strayed from a Bowery Boys slapstick onto a set from a 1930's western, with a budget of $50 and a director nowhere to be found -- still and all, the film proved remarkably adept at capturing a postwar mood among the young. Nothing may have looked real, but kids of the day got the message. History had not ended in 1945: there was still a restless spirit out there that could not be captured by pre-war malt shops and Saturday night hops. The inarticulate Johnny (Brando) is the perfect embodiment of that angst. He's groping toward something, but what. The gang rides around aimlessly, with no more knowledge of the road ahead than of themselves. Then too, it's the elderly Jimmy, representative of an older, slower America, who's revealingly run over by a run-away cycle. The sweetly pretty Mary Murphy attracts Brando, but she's a baited trap -- he could end up like her father or the townspeople. Does he ever return to her... is the trophy gesture a promise or a farewell... Though severely lacking in some respects, the script wisely leaves such ultimate questions unanswered. And through it all, Brando, in black leather jacket, remains a powerful yet enigmatic presence. A worthy and enduring icon.

Younger viewers might keep in mind that the movie was produced not only at the height of the Cold War, but at the height of the Mc Carthy purges in Hollywood. This, I think, accounts for much of the film's schizophrenia -- many punches were pulled. No one wanted a movie that cast America's youth in a bad light. So despite what was hinted at on screen, audiences were also told that everything is really alright. Level-headed authority (Jay C. Flippen) remains in charge and these are really overgrown boys who will eventually straighten out -- just look at their childish horseplay. It's Brando's smouldering presence that undercuts this comforting message. The audience senses that somewhere behind the defiant slouch lies a wisdom superior to the bland reassurances, if only he could find the words. Those, I suppose, would come 15 years later and in far different rebellious circumstances. Anyway, this is a Brando showcase without which the movie would lie long forgotten.

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He was a sweet beautiful guy

To think that this film was banned in England for 20 years makes one cringe in disbelief - one of Woody Allen's characters is right when he intones that all the things we were told as children that were good for us turned out bad - milk, meat, sun, big cars- and all the the things that we were told were bad for us turned out good - leather jackets, motor cycles, bebop, nature. But to The Wild One. Yes it's dated. The jive language doesn't fit with white middle class men dressed up in leather jackets, and Mr Brando is much to sweet, self conscious, and beautiful to be considered wild. Men and women alike are rushing to if not hug and kiss him, just look. He's caged for similar reasons. The arty camerawork on the bike ride at night with girl on the back doesn't quite work, but it's not a bad movie. The main attraction is really the beauty of Mr Brando. The first shot of the bikes heading towards us down the country road is a memorable opening.

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brando before he got fat and untalented.

The entire time length that takes place in this movie is like less than one day. Brando and his Black Rebel Motorcycle Club cronies spend the day being retarded in some bar in some town. The only reason I could think to watch this movie is so you could see that at one point, in a galaxy far far away, Marlon Brando was a cool dude. Before arrogance seeped out of his body like sweat, he was a guy you'd want to see in a movie. Now, obviously, he's dead and like most actors who were in old movies, has been elevated to 'legend' status, despite only being in a handful of good movies. This movie was released in 1954, and I know I've become a bit jaded by Pulp Fiction and anime, but as far as I'm concerned, 1950's B&W movie or not, its not very good. The begining, end, acting, story, etc., just isn't that great, and it's really nothing more than a cult film about motorcycles.

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