Maidgethma Wonderfully offbeat film!

Manthast Absolutely amazing

TaryBiggBall It was OK. I don't see why everyone loves it so much. It wasn't very smart or deep or well-directed.

Lucia Ayala It's simply great fun, a winsome film and an occasionally over-the-top luxury fantasy that never flags.

Dalbert Pringle (Movie quote) - "What do you hicks do around here for kicks?" Meet Brando's character, Johnny Strabler, a 29 year-old, lard-assed, delinquent who (get this!) not only thinks he's a real tough-guy (and a total hep-cat, too), but, he's also the gang leader of "B.R.M.C." (which stands for "Black Rebel Motorcycle Club")..... (Now, ain't that cute?) Of course, 1953's The Wild One was all about Marlon Brando. But, unfortunately, I found this "original-outlaw-biker-film" to be a rather feeble attempt to showcase Brando's apparent on-screen virility and animal magnetism.As I carefully studied Brando up close, I quickly began to see that he and his drawing power (viewed 60+ years later) was all a big facade and his so-called "cool" came across to me as being only lukewarm, at best.Besides finding the hip-lingo spoken in this film, by the biker boys, to be ridiculously laughable for the most part, as well as the story's opening "warning" to be downright demented - I also thought that the deliberate attention that was repeatedly being paid to "the trophy" (which everyone seemed to be grabbing for) almost defied logical comprehension.This whole business with the trophy reminded me of the repeated use of the word "rosebud" in "Citizen Kane" (which was in reference to Marion Davis's clitoris) - While here in "The Wild One", the trophy (which was clearly fashioned like an erect phallus) was a subliminal representation of Brando's manhood (aka. penis)..... No?

MissSimonetta Yeah, The Wild One (1953) is schlock, but it's premium schlock and clearly much too technically competent for the many negative reviews I have seen for it. I tuned into Turner Classic Movies expecting pure camp with only Brando to lend precious little substance, only to be surprised at how moved I was at the conclusion eighty minutes later. Not that I am suggesting this is an unjustly regarded masterwork; like I said, it is schlock and often too cheesy to take seriously. Yet, in spite of the relatively tame action on screen and the cheesy frat boy antics of the bikers, there's still something going on underneath the surface, a palpable sense of frustration and alienation.The Wild One hits on the tyranny of conformity in 1950s America and the way the younger generation fears a life that is painfully ordinary and staid. This is best illustrated in Kathie, who makes it clear that the idea of settling down and then dying in the same boring town is terrifying for her; there's a rebellious, non-conformist streak in her, most obvious when she offers herself to Johnny on the outskirts of the town, and yet this scene also shows she's only willing to go that far if he continues with his rouse of forcing himself on her. She won't break away from the conformity of the town unless a man takes her away from it all. She craves the free life Johnny seems to possess.And yet, even Johnny is a lost soul, who has no clue what he really wants at all. We're given little of his past, aside from the implication that he had an abusive childhood. While in no way the best performance of Brando's career, it is a fine one, one which elevates the film. He utilizes facial expression and body language to communicate all the isolation and adolescent confusion that the schlock dialogue cannot fully deliver. In the end, Johnny is still an enigma, though judging from his final moment with Kathie, he does seem to be more at peace with himself. You really do have to wonder where he'll be going after this, if he's still just going to wander forever. And what of Kathie? Will she ever free herself from that sad little county?These questions lend such a poignancy to the ending, almost making you forget how cheesy everything else was before. But I like the lack of absolute resolution. It gives those star cross'd lovers an afterlife that few B-movie characters enjoy.

Scott LeBrun Here we have THE original biker cinema classic that predated "Easy Rider" by a good decade and a half. Marlon Brando, all swaggering cool, delivers an iconic performance as Johnny, leader of the B.R.M.C. (Black Rebels Motorcycle Club). Johnny and friends come to a small town to raise some Hell; he becomes quite taken with local girl Kathie Bleeker (Mary Murphy), and she with him.Although Johnny is no innocent, and does have a role to play in the events that get out of hand, it becomes clear that he's also not the Devil that hostile and intolerant citizens make him out to be."The Wild One" does firmly date itself in some ways. The dialogue is very much of the time, and the antics of these biker clubs are not as scuzzy as some people might like to see. This is not a biker film for those people who enjoy the exploitative low budget pictures that came out in the wake of "Easy Rider". After a while, it becomes clear that there's not that much of a story here, as a lot of mayhem and destruction takes up the running time. But then, this is just as much of a character study as it is a motorcycle movie.Our main character is something of an enigma. While ostensibly a rebel in outright defiance of every accepted societal norm, he's also a guy who's really not that sure of himself, a guy still in search of an identity. Scenes late in the film with Johnny and Kathie are the real standouts.The excellent cast also includes Robert Keith as Kathie's dad, a surprisingly laid back lawman who doesn't seem to be that cut out for his job, and who is willing to give our gang some amount of leeway. Lee Marvin steals his scenes as rival gang leader Chino. It's also fun to see people like Timothy Carey, Alvy Moore, Jerry Paris, and Bruno VeSota in small, uncredited roles.Nicely shot (by Hal Mohr) and scored (by Leith Stevens), "The Wild One" does merit a viewing for film buffs.Seven out of 10.

Syl There is a moment in the film where Brando leaves an iconic image of him on the motorcycle. This film was inspired by the events in Hollister, California in 1947. While the film is loosely based on the events, Brando is unforgettable and brilliant in this mediocre script. The film has a memorable cast especially Mary Murphy as the female love interest and Lee Marvin as one of the rousing bikers. The film's script could have been more worked on. Stanley Kramer was a genius in finding stories about outsiders and alienation. He found the story to be worth telling and how one town came to deal with their situation. Surprisingly, this film lacks the violence by today's standards. You would be surprised to see how mild the violence is. If anything, Brando's performance captures the film overall and leaves a legacy. He was an icon and his acting still regarded as some of the finest ever on screen or stage.