If you told me there was a movie in which Laurence Harvey was good and kind and Jane Fonda was the bad girl, I wouldn't believe you. But, from the first scene of Walk on the Wild Side, it's clear Larry is a nice guy and Jane is up to no good. Who would have thought?
Laurence Harvey is hitchhiking from Texas to New Orleans, and along the way he meets fellow drifter Jane Fonda. He's generous and idealistic; she lies, cheats, and steals. While Jane's goal is to have a good time and get ahead, Larry wants to find his beautiful and pure former lover Capucine and live happily ever after. What will happen when they reach Louisiana?
That's just the beginning of the plot, so if you're interested in finding out more, you'll just have to rent this dark drama. Only a few years after the demise of the Hays Code, there's an enormous amount of taboo subjects included in John Fante and Edmund Morris's script, including homosexuality, gritty violence, prostitution, and interracial romance. Although this is hardly a feel-good movie, it's very exciting to watch, especially when you keep in mind the time of its release. Not only is the script stimulating, but the acting is very good, especially since so much of the cast is in against-type roles. Jane Fonda is well-known now for playing in very likable roles, but in her second movie, she's a giant pill. Even though she's incredibly beautiful and has a stunning figure, I can't imagine anyone watching this film and rooting for her. Laurence Harvey is surprisingly convincing in his innocent character, and Capucine channels Joan Crawford in her conflicted performance. Barbara Stanwyck takes on a bold role, and in every scene she sizzles with simmering tension. And finally, rounding out the cast is Anne Baxter. She plays a Mexican proprietress of a gas station and diner, and for the first twenty minutes she was on screen, I didn't even recognize her.
Saul Bass chose a fantastic opening to the film: the camera follows a black cat stalking from the clean sidewalk through garbage-ridden streets. The cat walks in time to Elmer Bernstein's haunting and fitting theme, and it perfectly sets the tone for the rest of the film. I love Elmer Bernstein, and thankfully his title song—with lyrics by Mack David—was nominated for an Oscar that year. Trust me, his music will stick with you long after the film's end.
Laurence Harvey is hitchhiking from Texas to New Orleans, and along the way he meets fellow drifter Jane Fonda. He's generous and idealistic; she lies, cheats, and steals. While Jane's goal is to have a good time and get ahead, Larry wants to find his beautiful and pure former lover Capucine and live happily ever after. What will happen when they reach Louisiana?
That's just the beginning of the plot, so if you're interested in finding out more, you'll just have to rent this dark drama. Only a few years after the demise of the Hays Code, there's an enormous amount of taboo subjects included in John Fante and Edmund Morris's script, including homosexuality, gritty violence, prostitution, and interracial romance. Although this is hardly a feel-good movie, it's very exciting to watch, especially when you keep in mind the time of its release. Not only is the script stimulating, but the acting is very good, especially since so much of the cast is in against-type roles. Jane Fonda is well-known now for playing in very likable roles, but in her second movie, she's a giant pill. Even though she's incredibly beautiful and has a stunning figure, I can't imagine anyone watching this film and rooting for her. Laurence Harvey is surprisingly convincing in his innocent character, and Capucine channels Joan Crawford in her conflicted performance. Barbara Stanwyck takes on a bold role, and in every scene she sizzles with simmering tension. And finally, rounding out the cast is Anne Baxter. She plays a Mexican proprietress of a gas station and diner, and for the first twenty minutes she was on screen, I didn't even recognize her.
Saul Bass chose a fantastic opening to the film: the camera follows a black cat stalking from the clean sidewalk through garbage-ridden streets. The cat walks in time to Elmer Bernstein's haunting and fitting theme, and it perfectly sets the tone for the rest of the film. I love Elmer Bernstein, and thankfully his title song—with lyrics by Mack David—was nominated for an Oscar that year. Trust me, his music will stick with you long after the film's end.