StunnaKrypto
Self-important, over-dramatic, uninspired.
Fairaher
The film makes a home in your brain and the only cure is to see it again.
Roxie
The thing I enjoyed most about the film is the fact that it doesn't shy away from being a super-sized-cliche;
garyldibert
I bought this because Raquel Welch was in it. Every movie that I have of here's which is about 17 she was always gorgeous and beautiful except this one. She wasn't bad in this picture but with her beauty, she shouldn't have been in this movie in the first place. I loss interest in this movie as soon as the person said the year 1920. This movie told you how a movie stars to get his life back once they have been found. However, how could you waste the beauty and the talent of Raquel Welch in a movie like this? Raquel body is far better serve on beach scenes and watching walk around the beaches in those short and lovely bikinis. I'm sorry Raquel but I can't give this movie anything more then 3 weasel stars. You and your talent were wasted in this movie and the only reason I gave it 3 weasel stars was because your name was in it.
John Seal
This is an interesting and ambitious feature that has much to recommend it--and a fair number of strikes against it, too. On the credit side, James Coco is outstanding in the lead role of Jolly Grimm, an aging screen comic desperate to make a comeback. He's ably supported by David Dukes as his straight arrow screen collaborator and especially by Royal Dano as his lanky and loyal personal assistant. The story is simple but interesting, the silent film footage of Brother Jasper expertly mounted, and there's an eerily effective and almost otherworldly performance by the unheralded Annette Ferra as an ambitious young dancer.And now for the not so good news: despite a praiseworthy attempt to drape this in Roaring '20s ambiance, a few too many 1970s anachronisms--clothing wise and hairstyle wise--creep distractingly into the background, the original songs are generally mediocre, and the sensational sex scenes are gratuitous at best. The result is a somewhat schizophrenic production that uneasily tries to balance a serious story with five minutes of over the top group grope scenes which will offend some and disappoint others. There's enough here to render these scenes superfluous, but even with their inclusion the film remains a fine character study that will hold the attention of those interested in the history--apocryphal or otherwise--of early Hollywood.
Poseidon-3
Loosely based on the 1920's film star Fatty Arbuckle scandal (in which he was tried, but acquitted of raping a young girl during a Hollywood party, resulting in the demise of his career), this is adapted from a narrative poem that has some similarities to Arbuckle, but notable differences as well. Dukes plays a writer who narrates the story from his hospital bed. He recounts the difficulty that his associate, silent film comedian Coco, has had in holding onto a career in the cinema business. Coco hasn't had a film released in five years and is throwing a huge bash in order to show his latest opus to various studio heads in the hopes that they will distribute it for him. Unfortunately for him, it's the dawn of sound and his film is silent. His live-in lover Welch is a grateful and loyal, but restless, sexpot who he mistreats regularly (and increasingly, as his career dwindles.) Together, Coco and Welch host this bash and soon find that the studio heads are more interested in other parties or in hooking up with loose women on the premises. King plays a hot new actor who's brought to the party by starlet Bolling, who is one of Welch's best friends. Once he eyes Welch, King can think of virtually nothing else the rest of the night. Meanwhile, Ferra, a teenage girl, has come to show Coco her talent in dancing, never dreaming of all the angst and drama unfolding in the house. Eventually, the party escalates into a near full-on orgy and the divergent personalities clash, ending in violence. Coco gives an extremely strong performance in one of his better roles. His desperation is palpable and he gets to show both his comic and dramatic skills through the framework of the film. Welch is attractive, but very plastic and anachronistic. She never seems genuine at any point in the film. Her character is supposed to be acting like a content and secure hostess, but Welch carries this facade throughout the entire film with only occasional lapses into realism. She also performs a couple of sexy, but largely inappropriate dance numbers. King provides a welcome does of male sex appeal. His angular features are a perfect contrast to the rotund Coco and he shows off his enticing physique in one key scene. Dukes, Bolling and Dano (as Coco's long-time chauffeur) do well in their respective roles as well. The biggest problem with the film is that nothing wild happens until it is almost over! The period costuming and decor are interesting and there are some good moments along the way, but the high-flying, wildness is not in evidence at all until over an hour into it. Then, when the debauchery starts, it is pretty tame all things considered (certainly compared to the REAL parties of 1920's and 1930's Hollywood!) Those familiar with the Arbuckle case may be expecting the story to take a different turn than it does. It's actually a pleasant surprise when things don't go exactly as one might be anticipating, but the major catalyst for the violence at the end isn't even shown! (A particular lovers tryst is only alluded to.) A whimsical score (with some clever songs), good acting by Coco and the attractiveness of Welch and King are the primary assets here. It's not bad, but it could have been much better.
Kenneth Anderson
This is one of my favorite Merchant/Ivory films. I first saw it when I was a movie usher in 1975 and American International released a very butchered version that cut out a lot of character info and played up the sex and nudity. Many many years later on cable TV I came across the restored version with new scenes and re-edited old ones and it plays like an entirely new film!James Coco is silent movie comic Jolly Grimm, desperate to save his slipping career by pitching his new film at a Hollywood party. Raquel Welch is his mistress, Queenie, a former showgirl who puts up with Grimm's temper and beatings longer than she should. The film takes place in a frantic 24-hour period wherein just about every disaster and humiliation possible befalls Grimm, leading up to the tragic/dramatic finale. The titular party is more tacky than wild, but it looks like a lot of fun, populated as it is by a host of curious Hollywood characters. Coco is a standout in a role that should have received more attention. The same holds for Welch who works like a Trojan (and kinda dances like one in her numerous musical numbers,) and while never quite pulling off the dialog ("Ya big lug!"), is rather endearing in her efforts. Special applause for Tiffany Bolling as Welch's best friend. She is funny and real and would have made a wonderfully vulnerable Queenie.Even when being batted around by Coco, Welch looks like she could punch Coco into the sound era. Though essentially a tragedy, "The Wild Party" is too flawed to be moving, but is a really enjoyable and visually rich film. The musical score (featuring "The Herbert Hoover Drag") is a gem!
