photo manipulation by nacrowe
in my opinion, THE WILD ONE (STANLEY KRAMER PICTURES, 1953) is one of the most consequential films of all time. even up there with CITIZEN KANE (RKO, 1941) in terms of influence.
in many respects this is a result of its content rather than its construction (as was the case with ORSON WELLES' opus still being held in high esteem). the film basically introduced the AMERICAN public to teenage rebellion. in the post-WWII period the economic pursestrings controlled by young adults was sizable for the first time in modern history and HOLLYWOOD took notice. later films like REBEL WITHOUT A CAUSE (WARNER BROS, 1955) take their cue from THE WILD ONE, which deals with a clash of two motorcycle gangs in a small town. in many ways it is almost like a WESTERN in its construction, here bikes and leather jackets taking hte place of steeds and leather chaps.
there is also the immortal MARLON BRANDO line "What have you got?" to the question "What are you rebelling against" that is one of the great lines in all of cinema. for me this film is the ground zero of modern youth culture. you can even start with the fact that there is the well-known myth that THE BEATLES got their name from the rival biker gang in the film (a reference to the BEAT WRITERS and BEAT GENERATION). for the record the ALTERNATIVE ROCK band BLACK REBEL MOTORCYCLE CLUB is named after the corresponding BRANDO bike gang in the film.
at some point the legend of the film is divorced from the actual film itself which was low budget with minimal set locations. by standards of the time it is a pretty bare bones production. but where it succeeded it did so brilliantly in exploiting a burgeoning teenage market that was as-of-yet untapped with characters that questioned authority and went against the status quo, creating their own community of like-minded riders that lived by their own code. again, this is straight out of the WESTERN playbook, but being transmogrified in this new context was brilliant. to this day motorcycles, leather jackets and the paraphernalia of the imagery from this film represents rebellion, independence and freedom in AMERICAN popular culture.
the fact that there is no focus to their defiance is a core issue that gets explored to great effect in the aforementioned NICHOLAS RAY film REBEL WITHOUT A CAUSE starring JAMES DEAN, but i will leave that to another review.
THE WILD ONE is definitely worth watching if you are a fan of film history or the evolution of AMERICAN popular culture through the generations.
photo manipulation by nacrowe
legendary british NOIR film THE THIRD MAN (LONDON FILM PRODUCTIONS, 1949) directed by CAROL REED, screenplay by GRAHAM GREENE and starring OSON WELLES is as much an historical document as it is one of the unrivaled gems of the genre. filmed largely on location in VIENNA in the immediate aftermath of World War II, this film details the intrigue of shattered lives and jumbled alliances relationships, both personal and political, that defined this era.
main character HOLLY MARTINS (JOSEPH COTTEN) is in VIENNA at the request of his friend HARRY LIME (ORSON WELLES) due to a job offer but learns on arrival that LIME has died. much of the film finds him traversing the shadow economy and sullied actors, including LIME, that are set in an underground battle for political and economic hegemony in the vacuum set into motion by the ALLIED FORCES victory.
much has been made about the craftsmanship of the dialogue, the quality of the acting, the look of the film or even the ingenious choice to use post-war VIENNA as the ideal backdrop for a dark, noirish mystery film. all of these are deserved. i myself have even watched this film in VIENNA (there is a theater that ONLY plays it multiple times a day) and gone on the walking tour of its scenes on location.
and all that is good and interesting, but for me the real value of this film is the way in which it navigates sans judgement the shadow world of politics and economic influence. too often today people look at the actions of nations and politicians in a reductive binary moral compass of good and evil, when what they really should consider is who are the players and what is their interest.
growing up i saw this dichotomy firsthand in places where our government supported corrupt foreign military dictatorships (NIGERIA) and undemocratic theocracies (KUWAIT) purely based on economic necessity. i doubt there was a discussion revolving morality when backing these un-american regimes abroad because the vacuum of our absence would have benefited our economic and political rivals (RUSSIA, IRAN, CHINA). this film dives headfirst into the ethical morass that is this ambiguity and really gets at the heart of what we value as a society (through the idealism MARTINS) and what price we are willing to pay (through the actions of LIME).
this is a legendary film well-worth your time. consider giving it a watch.