Where did you want this guy to take you?
This guy that had a cup of coffee.
Directed by László Benedek, produced by Stanley Kramer, starring Marlon Brando, Lee Marvin, and Mary Murphy. Columbia Pictures ... THE WILD ONE (1953).
Of all the Marlon Brando films that has every blend of brewing in my CINEMA COFFEE House, THE WILD ONE (1953) with the working title THE CYCLISTS' RAID AND HOT BLOOD, is it. It's bold, it's intense, and the intimate scenes take place across the counter where …
… they serve coffee.
The backstory to how this film was adapted to screen is a pretty well known one. Based on the true 1947 incident in California turned short story by Frank Rooney, 'The Cyclists' Raid' in Harper's Magazine (read here), the BRMC (The Black Rebels Motorcycle Club), lead by Marlon Brando's "Johnny Strabler," hits theaters in LA on December 25, 1953 ... Merry Christmas!
(SIDENOTE: Something I find interesting. In the US, THE WILD ONE was widely released as a double bill with THE BIG HEAT (1953). A film most of you may know, especially Noirettes, features another Brando ... Marlon Brando's older sister, Jocelyn, opposite Glenn Ford, as his wife.)
(SIDENOTE: Something I find interesting. In the US, THE WILD ONE was widely released as a double bill with THE BIG HEAT (1953). A film most of you may know, especially Noirettes, features another Brando ... Marlon Brando's older sister, Jocelyn, opposite Glenn Ford, as his wife.)
Marlon Brando turns in a tremendously |
Its NYC premiere December 30, 1953, at the Palace, The Hollywood Reporter described the picture as "a splendid example of film craftsmanship from the viewpoint of production, acting, direction — in fact, everything but choice of subject." (read the full 1953 (originally published December 23, 1953) review here.
Laughingly so, I can't say this picture was a huge hit in my dad's eyes either. Growing up around and on motorcycles because of my dad (a Screaming Eagle from back in the day before I was even thought about), I used to beam on those occasions when my dad (owner and head contractor of his own construction company) would take time off to pick me up from school on his bike!! But, my dad having belonged to a motorcycle group in his youth, also grew up in a neighborhood that fit more into the A BRONX TALE (1993) community, in the sense that if you came around there with that acting up stuff, there might have been a "Sonny" around to let you know after asking you politely "Now, you's can't leave," in a "Remember me" sortofaway.
Yet, the film, due to its violence and its non-respect for authority caused the film to be banned in Britain, not to be shown there until 1967 (though I do have a book "BRANDO" by Robert Tanitch, that references the date as 1968). And yet, watching today, as it did in 1967 when finally shown, you think, "That's it? That's … it?"
Laughingly so, I can't say this picture was a huge hit in my dad's eyes either. Growing up around and on motorcycles because of my dad (a Screaming Eagle from back in the day before I was even thought about), I used to beam on those occasions when my dad (owner and head contractor of his own construction company) would take time off to pick me up from school on his bike!! But, my dad having belonged to a motorcycle group in his youth, also grew up in a neighborhood that fit more into the A BRONX TALE (1993) community, in the sense that if you came around there with that acting up stuff, there might have been a "Sonny" around to let you know after asking you politely "Now, you's can't leave," in a "Remember me" sortofaway.
Yet, the film, due to its violence and its non-respect for authority caused the film to be banned in Britain, not to be shown there until 1967 (though I do have a book "BRANDO" by Robert Tanitch, that references the date as 1968). And yet, watching today, as it did in 1967 when finally shown, you think, "That's it? That's … it?"
However, the first time I saw this film, as Andy Hardy would say, I was "rearing to go!" I had just been bitten by the Brando bug and was itching to watch every film in his filmography. Having already been captured by GUYS AND DOLLS (1955) (for my blog piece read here), A STREETCAR NAMED DESIRE (1951) (my blog piece, read here) seemed to be the natural fit as where to go next. Hearing *so much* about "Streetcar" in association to Brando's acting, as I had started immersing myself into his acting career, I was quick to learn immediately this was the role, this was the man, who changed acting. However, not up to date yet on which role was what, I had mistook THE WILD ONE (1953) for "Streetcar". Seeing it was in the line up on TCM for a Saturday afternoon watch, I had it set. As I said, I was new to the experience that would be Marlon Brando, so I had already bought several Brando films on DVD, sight unseen ("Streetcar" included), all new to me, but had burned my DVD player out prior (thanks GILDA (1946) (for my blog piece, read here)) and had yet to buy a new one. So this airing was right on time! I remember asking my Mom if she knew if THE WILD ONE was the one where he yelled "Hey, Stellaaaaa!" (That quote? That much I did know). She said she couldn't remember. She wasn't as informed on Brando at the time as she became once I got the goods on him. I became a walking encyclopedia, looking for a student. Whether she wanted to enroll or not, I found the student in my Mom. Haha!
That morning, a friend, that was more family than friend, came over for Saturday morning breakfast, which we used to do as a family with him once a month. This particular Saturday, however, had me more in a "Joyce" from EDWARD SCISSORHANDS mood. Watching that clock like … "Why! Peg. Have you gone blind? Can't you see there's a vehicle in my driveway? ... Well, I'm surprised you don't realize that means I'm busy!" I knew, come two o'clock, I couldn't be responsible for being a "good host" anymore, I had a movie to watch ... uninterrupted.
Two o'clock came, and all was right with the world. I was able to enjoy the film, start to finish, in peace and uninterrupted. When the ending came, so saturated I had become into Marlon Brando's performance, I forgot all about whether or not he had screamed "Hey, Stella!" I had just been introduced to "Johnny Strabler." All I needed now was to grab my mom's leather jacket and hat, hop on my dad's bike and "Go out 'n have ball," because "If you're gonna stay cool, you've got to wail. You've got to put somethin' *snap* down. You got to make some jive. Don't you know what I'm talking about?" ... Yeah, I know what you're talking about.
That morning, a friend, that was more family than friend, came over for Saturday morning breakfast, which we used to do as a family with him once a month. This particular Saturday, however, had me more in a "Joyce" from EDWARD SCISSORHANDS mood. Watching that clock like … "Why! Peg. Have you gone blind? Can't you see there's a vehicle in my driveway? ... Well, I'm surprised you don't realize that means I'm busy!" I knew, come two o'clock, I couldn't be responsible for being a "good host" anymore, I had a movie to watch ... uninterrupted.
Two o'clock came, and all was right with the world. I was able to enjoy the film, start to finish, in peace and uninterrupted. When the ending came, so saturated I had become into Marlon Brando's performance, I forgot all about whether or not he had screamed "Hey, Stella!" I had just been introduced to "Johnny Strabler." All I needed now was to grab my mom's leather jacket and hat, hop on my dad's bike and "Go out 'n have ball," because "If you're gonna stay cool, you've got to wail. You've got to put somethin' *snap* down. You got to make some jive. Don't you know what I'm talking about?" ... Yeah, I know what you're talking about.
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A line this film is known for ...
What are you rebelling against, Johnny?
Whaddya got? |
According to producer Stanley Kramer, who Brando would work with in his film debut THE MEN (1950), "I gathered together a band of motorcyclists . . . [Marlon Brando] and I talked to them, and then the writer [Ben Maddow] was brought in. But he was subpoenaed by the House Un-American Activities Committee so John Paxton took over the script. These guys were a new breed, and there weren't many of them around . . . A lot of the dialogue is taken from our actual conversations with them. All the talk about 'We gotta go, that's all . . . just gotta move on' was something we heard over and over again. And one of the most famous lines in the film came from my conversation with them, too. I asked one of the kids, 'What are you rebelling against?' and he answered, 'What have you got?'".
As for an FYI, the '53 Triumph Thunderbird 6T used in the film was Marlon Brando's own personal bike, "a model which has been dubbed the first superbike because of its genuine 100mph potential." Unfortunately, the bike was destroyed due to the film's reputation. For the full and very interesting read on Bud and his bike, read MARLON BRANDO'S TRIUMPH for more.
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The same reputation that caught on for the film did the same for Marlon Brando. And having done as much reading and research as I have done at this point in my Marlon Brando career (for my "Hello, I'm Marlon Brando" piece, read here), I have to say, while there is a lot of sympathy, shyness, and compassion in Brando, he could quickly show you a side of him you'd never want to meet if you came at him the wrong way or simply as he put it himself …
As I like to say "Straight. Simple. And to the point." He's just letting you know. Just as he let the Shattuck Military Academy know in his youth after he was expelled from Libertyville HS, only later to be kicked out of Shattuck for his pranks, including removing the 150lb clapper from the bell tower. Brando's own words reflecting, "I did my best to tear the school apart and not get caught at it. I wanted to destroy the place. I hated authority ..." And yet, a very likeable person throughout the school, even by teachers, a petition was signed for his return, but he was only allowed admittance to act his role in the commencement play. Something he was showing a natural talent for by his peers, acting.
But what's more mind blowing, the same year Bud did THE WILD ONE (1953) … Wait for it ...
"Pardon me, Caius Cassius: The enemies of Caesar shall say this;"
Yes. He was Mark Antony. Yes. He was in ... JULIUS CAESAR (1953) (for my blog piece, read here)
Yes. He was Mark Antony. Yes. He was in ... JULIUS CAESAR (1953) (for my blog piece, read here)
This film would also have a casting connection, for GUYS AND DOLLS fans at least. For as you will soon notice Police Chief Harry Bleeker's Robert Keith is "Lieutenant Brannigan" out to spot Nathan Detroit "up to no good."
As with films like THE ASPHALT JUNGLE (1950), you'll spot practically a full cast of actors, character actors, extras, actors you know by name, actors you know by face, actors you know by film ... all being identifiable to a classic film veteran. From Jerry Paris, who I grew up on re-runs knowing as the next-door neighbor of Rob and Laura Petrie from THE DICK VAN DYKE SHOW (yeah, I had to do a double take when I first saw him in the film), and Hank Kimball (whom I also grew up on re-runs of on GREEN ACRES), Timothy Carey (probably mostly known for and by his Cult Classic followings, and it is said to have been the one who came up with "the idea of squirting beer in Marlon Brando's face," even though Brando "expressed reservations about what Carey was up to." (source)), Will Wright, to Gil Stratton, Jay C. Flippen, and Ray Teal who seems to show up in every film ever made, including in Marlon Brando's film debut THE MEN (1950), but it's opposite Dana Andrews' fist that will always strike up the memory … THE BEST YEARS OF OUR LIVES (1946) … I'm lookin' at you.
Isn't Lee Marvin in this movie? you say. Yes. Yes, he is. Though both Marvin and Brando, along with many other of "the gang" casted, felt to old for their roles, Marvin plays the leader to Brando's "Johnny's" rival gang, "The Beetles," basing his character, "Chino," on a real life biker who rode with the Booze Fighters Motorcycle Club, Willie "Wino Willy" Forkner.
Life imitated art and vice versa when Lee, who could not ride a motorcycle, refused to let Brando be able to do something in the film he could not. Thus, not only did Marvin learn soon thereafter, also got his own bicycle, a Triumph 200cc Tiger Cub.
In the film, the two gangs rival in notoriety and in motorcycles, with the BRMC riding Triumphs and British bikes while Marvin's Beetles ride Harley-Davidsons.
Life imitated art and vice versa when Lee, who could not ride a motorcycle, refused to let Brando be able to do something in the film he could not. Thus, not only did Marvin learn soon thereafter, also got his own bicycle, a Triumph 200cc Tiger Cub.
In the film, the two gangs rival in notoriety and in motorcycles, with the BRMC riding Triumphs and British bikes while Marvin's Beetles ride Harley-Davidsons.
Co-star and leading lady in the film Mary Murphy, on the other hand, when cast for this role did not know who Marlon Brando was. At the time, she had not seen any of his films and was not aware of his acting. That soon changed one day when Marlon walked into the director's room, where she was sitting, where he knew she was sitting … And never looked her. Walked around the room, but did not make eye contact with her. Fully aware she was in the room. As Mary Murphy says, "true to form" … This was Brando. However, just as we've learned about, and from, James Garner, David Niven, Al Pacino, Maximillian Schell, Red Buttons, Shirley Jones, and so on, Mary Murphy did not encounter the "hard to work with" Brando. In fact, a similar story told by James Garner during his first scene in SAYONARA (1957) (for my blog piece, read here) telling Brando he was nervous, Brando helped him out, telling him not to worry about it, so did Mary find herself. Not saying a word of being nervous, she mentions in an interview with Skip Lowe, Marlon had an instinct about people and they never had to say a word. He knew. And made her relaxed without letting on what he was doing, to help her through the film.
As I say in almost every blog piece I've written, I'm not here to give you a breakdown of the film, spoilers, summary/synopsis, etc. At the coffee house, we're here to chat about what the film means to us. So, I write my pieces as to how the film connects with me (usually *always* in connection with my Mom) and hope that those who have not seen the particular film discussed will gain an interest in the film and hopefully create a film memory with it of their own.
Having said that, I encourage you to watch THE WILD ONE (1953) if unseen, on TCM this Monday, June 24th, 2019 at 10:30AM CT, or make a road trip back to it if it's been a while seen you've seen it … #ForMyMom
For my sea of Marlon Brando gifs I've created: Brando gifs
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