Something Wild

1961

Drama

4
Rotten Tomatoes Critics - Rotten 40%
Rotten Tomatoes Audience - Spilled 48%
IMDb Rating 6.8 10 837

Synopsis


Uploaded By: FREEMAN
Downloaded 29,896 times
January 19, 2017 at 04:21 PM

Director

Cast

Doris Roberts as Mary Ann's Co-Worker
Carroll Baker as Mary Ann Robinson
Diane Ladd as Bit Part
William Hickey as Bit Part
720p 1080p
809.73 MB
1280*720
English
NR
23.976 fps
1hr 53 min
P/S 0 / 8
1.7 GB
1920*1080
English
NR
23.976 fps
1hr 53 min
P/S 2 / 9

Movie Reviews

Reviewed by Aw-komon 10 / 10

A great, completely underrated American 'method acting' masterpiece

I first became aware of this film when Winona Ryder mentioned it as one of her all-time favorite films in an interview with Timothy Leary. I found that no video copy of the film was on the market and it was rarely screened. I knew right away it would have to be a truly great film to be ignored for 40 years by the same American movie-going public who turned Kazan's ridiculously overrated "On the Waterfront" into a multi Oscar winner, gave George Stevens an Oscar for the awful "Giant," and made their greatest director (Orson Welles), a commercial failure and an exile.

Well I finally saw this thing yesterday, in pristine form and on the huge screen of the Egyptian theatre in Hollywood, thanks to the American Cinamateque, and all my suspicions and predictions were comfirmed: it's not only a masterpiece but one of the most idiosyncratic American films ever made; better than any pre-East-of-Eden Kazan film and featuring an astounding performace from Carroll Baker, and a brilliantly bizzare and understated one from Ralph Meeker. The film's pace is slow and methodical, frustrating ALL audience expectations and conditioning in the best Antonioni style (you can clearly tell Garfein's seen "L'Avventura" and "La Notte" a few times), and revealing insights and truths that would be completely obzcured otherwise. Most of the film is fascinatingly shot on crowded New York streets in a semi-neo-realist style using long takes and with the modernist music of Aaron Copland providing an eerie counterpoint to the visual mood. The cinematography is by Eugen Shuftan, the same guy who shot Fritz Lang's famous silent film "Metropolis" and it's expressionistic to the max, providing further contrast and counterpoint, a 'poetic touch' to the realistic method acting employed in the film.

Some people might think that the entire film is absurd and no rape victim would refuse to say anything about her rape and then fall in love and marry a crazy mechanic who locks her in an apartment, but they forget one point: Meeker doesn't know (because he was drunk out of his mind) that he violated Baker's trust and when Baker mentions that she was the one who kicked him in the eye, he realizes his inpropriety, becomes patient, and leaves the door unlocked. Furthermore, the reason Meeker locks Baker in the room in the beginning is partly to prevent her from another 'blacked-out' suicide attempt, because he loves her and doesn't want to lose her. And the objection of 'rape victims who never report their rape are unrealistic' is ridiculous on its face; everyone knows from statistics that it is an unoforunate and all too common occurence, maybe even especially more so when the girl raped is beautiful enough to be said to be 'provoking' men. So the entire film is completely valid on its face and thoroughly realistc. But what makes it great are the little touches and details, the time taken to capture the nuances of acting and location that other films don't make the effort for. One can only hope that Jack Garfein (the director, who was married to Carroll Baker at the time) makes the further effort of getting MGM/UA or whoever owns the original negative of this film, to transfer it to a good DVD to give people a chance to rediscover one of the great American films some 40 years after its initial release to commerical failure: "Something Wild."

Reviewed by Aw-komon 10 / 10

I can't get this film out of my mind.

I first became aware of this film when Winona Ryder mentioned it as one of her all-time favorite films in an interview with Timothy Leary. I found that no video copy of the film was on the market and it was rarely screened. I knew right away it would have to be a truly great film to be ignored for 40 years by the same American movie-going public who turned Kazan's ridiculously overrated "On the Waterfront" into a multi Oscar winner, gave George Stevens an Oscar for the awful "Giant," and made their greatest director (Orson Welles), a commercial failure and an exile.

Well I finally saw this thing yesterday, in pristine form and on the huge screen of the Egyptian theatre in Hollywood, thanks to the American Cinamateque, and all my suspicions and predictions were comfirmed: it's not only a masterpiece but one of the most idiosyncratic American films ever made; better than any pre-East-of-Eden Kazan film and featuring an astounding performace from Carroll Baker, and a brilliantly bizzare and understated one from Ralph Meeker. The film's pace is slow and methodical, frustrating ALL audience expectations and conditioning in the best Antonioni style (you can clearly tell Garfein's seen "L'Avventura" and "La Notte" a few times), and revealing insights and truths that would be completely obzcured otherwise. Most of the film is fascinatingly shot on crowded New York streets in a semi-neo-realist style using long takes and with the modernist music of Aaron Copland providing an eerie counterpoint to the visual mood. The cinematography is by Eugen Shuftan, the same guy who shot Fritz Lang's famous silent film "Metropolis" and it's expressionistic to the max, providing further contrast and counterpoint, a 'poetic touch' to the realistic method acting employed in the film.

Some people might think that the entire film is absurd and no rape victim would refuse to say anything about her rape and then fall in love and marry a crazy mechanic who locks her in an apartment, but they forget one point: Meeker doesn't know (because he was drunk out of his mind) that he violated Baker's trust and when Baker mentions that she was the one who kicked him in the eye, he realizes his inpropriety, becomes patient, and leaves the door unlocked. Furthermore, the reason Meeker locks Baker in the room in the beginning is partly to prevent her from another 'blacked-out' suicide attempt, because he loves her and doesn't want to lose her. And the objection of 'rape victims who never report their rape are unrealistic' is ridiculous on its face; everyone knows from statistics that it is an unoforunate and all too common occurence, maybe even especially more so when the girl raped is beautiful enough to be said to be 'provoking' men. So the entire film is completely valid on its face and thoroughly realistc. But what makes it great are the little touches and details, the time taken to capture the nuances of acting and location that other films don't make the effort for. One can only hope that Jack Garfein (the director, who was married to Carroll Baker at the time) makes the further effort of getting MGM/UA or whoever owns the original negative of this film, to transfer it to a good DVD to give people a chance to rediscover one of the great American films some 40 years after its initial release to commerical failure: "Something Wild."

Reviewed by Eugene Kim ([email protected]) 8 / 10

Something Oddly Moving

An offbeat, oddly moving film in which Carroll Baker plays a young victim of rape. Although the crime goes unnamed in this 1961 movie, the pain and anguish suffered by Baker's character, Mary Ann, are candidly as well as sensitively handled. And while the film can only hint at Mary Ann's thoughts (unlike the book on which it was based), Baker gives a touching performance as the victim who tries to deny the crime by erasing all physical traces of it, and then seeking to lose herself in the jungle of New York City, only to find herself trapped in the apartment of a supposed Good Samaritan played by Ralph Meeker. The film's second half is weakened by the sketchiness of the characters' motivations, but the actors help to fill in the gaps. Legendary American composer Aaron Copland has added a grand (perhaps too grand) musical score; Eugen Schüfftan's crisp black & white cinematography and the extensive use of New York City locations add to this drama. Directed by Jack Garfein (Baker's then-husband), who co-wrote the script with Alex Karmel, author of the 1958 novel "Mary Ann."

Read more IMDb reviews

4 Comments

Be the first to leave a comment