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Plato Grishin
Plato Grishin

Walk On The Wild Side(1962)

While it passed its censors, it was an adult film noir with explicit overtones and subject matter. It walks its audience through the lives and relationships between adults (mostly women) engaged in the "business" of commercial prostitution at a stylish New Orleans brothel. The "boss" is Madam Jo (Stanwyck), who combines toughness with a motherly tenderness toward her "girls."

Walk on the Wild Side(1962)

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The opening titles and closing sequence were designed by Saul Bass, probably in collaboration with Elaine Makatura Bass. Film reviewers universally praised the Bass titles, while often condemning the film. Even director Edward Dmytryk acknowledged that the titles were a masterpiece.[9] The titles feature a black tom cat, filmed at ground level, prowling an urban landscape and picking a fight with a white cat. Bass claimed the cat's journey was a metaphor for the environment of poverty and despair, experienced by the film's characters. At film's end, Bass filmed the same black tom cat walking over a newspaper headline, whose front-page story reported that the people who ran the bordello were arrested and sentenced to many years in prison, an ending demanded by the Motion Picture Production Code to appease those offended by the film's subject matter.[10]

Kind of bland and tries to hard to be cool and sexy. Plays out overly dramatic like a soap opera taking place in New Orleans. Jane Fonda's character and performance is pretty over the top. I like Anne Baxter but do concede some awkwardness with her playing a Latino. Laurence Harvey didn't really do much for me with his forlorn acting. I do think that this looks good but I didn't really like the ending and Barbara Stanwyck's actions making very little sense to me. So I'm fine with walking on this side thank you very much.

According to Penny Stallings' 'Flesh and Fantasy', when Barbara Stanwyck first encountered Laurence Harvey on the set lounging in his gold brocade bathrobe and drinking champagne, she walked up to him and said, "All right, Larry, let's go! Get your ass in gear. We've got a picture to make, and I don't have time for prima donnas!" After a moment of silence, this struck Harvey as highly amusing, and he burst into laughter. He and Stanwyck immediately became friends.

1990 started on a sad note, with Stanwyck's death in January of natural causes and Capucine's suicide in March, likely due to crippling depression. I often think of the conversations I'd have with them if they were alive. Would they be vocal champions for LGBT rights? Would they participate in Pride parades? What would they think of Will & Grace, The L Word, Queer as Folk, and other wildly successful productions that feature gay characters of all stripes? And what about that certain scene in Blue Is the Warmest Color (2013)? Too little, too much, or just right?

Synopsis: Based on the novel by Nelson Algren. A man named Dove Linkhorn (Laurence Harvey) meets the wild and impetuous Kitty (Jane Fonda) and gets tangled up in dirty dealings at a New Orleans bordello.

Mainstream American movies openly discouraged the subject of prostitution for thirty years, which naturally resulted in a lot of vocational excuses and evasions. Wild West prostitutes became dance-hall girls, hookers in bars were hostesses and streetwalkers were often given some kind of visible trade as camoflage. Fritz Lang's Manhunt sticks a sewing machine in London prostitute Joan Bennett's room and calls her a seamstress. This practice cleaned up the movies but distorted reality, often with the undesired side effect of glamorizing women who live by 'depending on the kindness of strangers.'

The movie's plot follows Texan farmer Dove Linkhorn (Harvey) on his way to New Orleans to seek out his lost love Hallie (Capucine). Dove encounters the wild, headstrong Kitty Twist (Jane Fonda) and the two decide to travel together, stopping off at a café run by Mexican Teresina Vidaverri (Anne Baxter), from whom Kitty steals. Teresina, crushing on Doug, gives him work and helps in his search for Hallie, which eventually leads him to a French quarter bordello known as the Doll House, run by steely Jo Courtney (Barbara Stanwyck). Jo has a hold on Hallie and seemingly controls her life. Feeling threatened, Jo will do anything she must to hold onto Hallie.Many in the "Walk on the Wild Side" cast were represented by Feldman (something that by law can no longer happen today), including his protégée, Capucine, who would often be seen about town with him. (She would later vehemently deny rumors of an affair.) The French bombshell had a lucrative modeling career before gaining international fame when Feldman cast her in the 1960 biopic of Franz Liszt, "Song Without End," garnering her a Golden Globe nomination. Liszt was played by Dirk Bogarde, who notably starred in the groundbreaking, gay-themed British film "Victim" in 1961. Bogarde denied his own homosexuality for the entirety of his life. Capucine, on the other hand, never really hid her attraction to women, and when interviewed by writer Boze Hadleigh for what would eventually become his book, "Hollywood Lesbians," she admitted her sapphic leanings. "Yes, I have had romantic or sexual liaisons with women, and one or two with men." She also stated that the great loves of her life were all female. Capucine would go on to appear in Blake Edwards' "The Pink Panther," as well as play a lesbian in "Fräulein Doktor" in 1968. Her life came to a tragic end when she jumped to her death from her 8th floor apartment in Switzerland in 1990 (the same year Stanwyck died). 041b061a72


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