User reviews

I haven't seen this movie in 40 years. Being 8 years old the first time I watched this curious flick I did not know the meaning of camp. Watching this movie last night I realized this is classic camp. Stanwyck plays what is considered to be the first out lesbian in a major film and Fonda (never more beautiful) plays an underage bad girl headed for the "doll house." This was Fonda's second movie and she was actually 25. Most reviews mention her overacting. I thought she actually gave the movie energy. Capucine underacts as much as Fonda overacts and she is quite boring and wooden. The best one could say about her performance is she has great cheekbones. Anne Baxter (in a part that should have been played by Rita Moreno) isn't as bad as other reviewers have stated, although her wig is a little distracting. Laurence Harvey has a lot of sex appeal and presence while doing very little. Look also for Joanna Moore(Tatum's mom) as one of the "dolls". The French Quater sets are right out of Streetcar. As a matter of fact, the whole movie plays like Tennesee Williams. I believe the song was nominated for an Oscar, rightfully so, since the score was beautiful. Hollywood should do a remake. Maybe Fonda in the Stanwyck role?

Few people may have appreciated what John Fante and co-writers were trying to portray with this vast improvement on Nelson Algren's trashy novel. OK, perhaps it was not a good idea to use the title for this film as it was a total rewrite, and driven by far higher ideals than Algren possibly knew existed. As it's presented, we have an idealistic love story, played out during the depression - where struggling people are being torn apart by poverty and the difficulty of simply putting bread on the table. If you want trashy Algren, you won't find it here, and that may have been a mistake for the producers of this fine study of lost love. The superbly transferred B/W Columbia DVD uses a catch phrase on the cover; Love is better when kept secret. They miss the point; Love is only better when it's freely given - anything else is a sham that will eventually disappoint. Marvellous noir director Edward Dmytryk (Crossfire'47) works superbly with master veteran director of photography Joe McDonald ('The Sand Pebbles '66) together they create a mesmerizing visual cinematic treat. While the subject for its era was borderline taboo, its frank situations are handled with measured tastefulness - this did not sit well with the sensation seekers.

The entire cast is as diverse as it is dynamic with international performers matching it with locals. Classically trained Laurence Harvey, while some see as miscast, does well in the role of the son of a Texan minister - on the road searching for his lost love - his character is both honourable and sympathetic. Also excellent are Anne Baxter; a kindly Roadhouse owner, Barbara Stanwyck; as the domineering manager of a New Orleans bordello, Jayne Fonda; as a penniless tramp, Richard Rust; the bordello henchman - along with a string of handpicked professionals and newcomers including Capucine, who is far better than some would have you think, there's even Todd Armstrong (Jason, of the Argonaughts). All work well and add sparkle to the indeed dramatic proceedings. Production design & art direction play a big hand in setting the scene for 30's New Orleans with streets lined by vintage cars and trams.

This is one of Elmer Bernstein's big early scores, with themes reflecting the full gamut of life's emotions - the arrangements by legendry orchestrators Leo Shuken and Jack Hayes are sensitive and sparkling. Saul Bass's striking 'cat' main and end title design is not to be missed (and deserves to be thought about!) Brook Benton's fine vocals and rendition of the title song are truly inspiring. Not many critics seem to get this one right - forget the rest, put it to the test, you may be pleasantly surprised. Thanks Sony for the crystal clear DVD images and super High-Fi sound reproduction but, no thanks, for not including the terrific theatrical trailer, although, can perhaps understand this as the end disclaimer may have also sold this classic to the wrong audience - as distributor produced trailers often do!

This film has quite a collection of odd casting choices, which adds a certain fascination to the proceedings. The story is a sultry, Southern drama from the same era as Tennessee Williams, and while nowhere near as provocative or profound as Williams, it's compelling nonetheless. It alleges to take place in the 1930s, but similar to 1959's "Suddenly Last Summer," little attempt is made at period authenticity. This works in favor of "Walk On The Wild Side," whose stars look so up-to-date you forget you're watching a 45-year-old movie. The exquisite Capucine couldn't be more beautiful, and she can act as well. Young Jane Fonda looks great, as does Joanna Moore. Anne Baxter has taken lots of criticism here for playing a Mexican, but she gives a warm and forceful performance. Barbara Stanwyck plays Barbara Stanwyck - hard-boiled, tough-as-nails - chewing the scenery at every turn. Even Laurence Harvey, wooden as ever, comes off well. This film is a wonderful, guilty pleasure with never a dull moment. The celebrated Saul Bass titles are not his best, but I like the way they tie into the story at the end. Elmer Bernstein's music will linger in your head for days.

The costumes of this movie are wonderfully rendered in their pointed depictions of the moral status, moods, personalities of the characters involved; the costumes play out a romantic narrative more involving than the one provided by the script. Country Gentlemen, Concubines, Suits and short skirts of redemption and fall... there's a fashion line here for sure. 1962 seemed a time when the post war bounty had rendered its elegance to a poised point on the cusp of a slippery slope. Time to render a dirty thought, A Fonda wink and slink before all hell broke loose. The style is the hero of this film, a drab sensationalist melodrama only puts a novel coating on a vortex of fabric and locale style....

Films like this aren't for everyone. But if you like trashy, flashy melodrama artfully executed, you can't get much better than this.

This film deserves a 9-star rating on the basis of the opening credits and closing sequence alone, both brilliant and creative. Being a black cat afficianado will bring added delight.

Although the cast reportedly despised each other, they are uniformly excellent. Laurence Harvey is cast against type and nails both the southern accent and the laconic character of the protagonist. Capucine is sexy and sultry while masterfully portraying the shifting emotions of Harvey's long lost love. And the performance from then newcomer Jane Fonda is more than competent.

If this sounds like your bag, you will fall in love with this picture, as I did. As for all the nay-sayers and detractors...well, they just don't get it.