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Walk on the Wild Side (1962)

Approved | | Drama, Romance | 23 March 1962 (Italy)
At the Doll House, a 1930's New Orleans bordello, Hallie is the main attraction both for clients and for Jo, the madame. Her comfortable if tedious life is disrupted by the arrival in town ... See full summary »

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Writers:

(novel), (screenplay) | 1 more credit »
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Nominated for 1 Oscar. See more awards »
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Cast

Cast overview, first billed only:
...
...
Hallie Gerard
...
Kitty Tristram / Kitty Twist
...
Teresina Vidaverri
...
Jo Courtney
...
Miss Precious
Richard Rust ...
Oliver
...
Schmidt / Courtney
...
Dockery (as Donald Barry)
...
Mama
...
Preacher
...
Frank Bonito
Todd Armstrong ...
Lt. Omar Stroud (as Todd Anderson)
Sherry O'Neil ...
Reba
John Bryant ...
Spence
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Storyline

At the Doll House, a 1930's New Orleans bordello, Hallie is the main attraction both for clients and for Jo, the madame. Her comfortable if tedious life is disrupted by the arrival in town of Dove Linkhorn, her true love of three years before who is now searching for her. When Linkhorn learns the truth of her profession he triggers a chain of events involving a number of people, including the young Kitty with whom he travelled from Texas and who is now the Doll House newest recruit. Written by Jeremy Perkins {J-26}

Plot Summary | Add Synopsis

Taglines:

a new kind of love story starring ... See more »

Genres:

Drama | Romance

Certificate:

Approved | See all certifications »
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Details

Country:

Language:

Release Date:

23 March 1962 (Italy)  »

Also Known As:

Auf glühendem Pflaster  »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(Westrex Recording System)

Aspect Ratio:

1.85 : 1
See  »
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Did You Know?

Trivia

Anne Baxter was pregnant during the filming. See more »

Goofs

The jukebox in Teresina's diner is a Wurlitzer model 1015. The 1015 was a post-war model produced from 1946 through 1947 and would not have been seen in the Depression. See more »

Quotes

Dove Linkhorn: What are you doing here, Kit?
Kitty Twist: I run the candy concession.
See more »

Crazy Credits

Closing credits are shown over a background of a newspaper showing the doll house crowd convictions, then we follow a black cat as it walks over the newspaper and farther down the street. See more »


Soundtracks

Somewhere in the Used to Be
(uncredited)
Music by Elmer Bernstein
Lyrics by Mack David
Sung by Brook Benton
See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
Love for sale in New Orleans...
27 June 2007 | by (las vegas, nv) – See all my reviews

Laurence Harvey is terrific as a penniless Texas cowboy who hitches his way to New Orleans in the 1930s in search of a lost summer love, a French artist who--unbeknownst to him--is now working at a bordello; Barbara Stanwyck is the madame at the Doll House, married to a crippled tough but with heavy lesbian leanings towards Capucine, the girl who broke Harvey's heart; Jane Fonda is pretty good as a teen tramp who also ends up working for Stanwyck, and Anne Baxter is a proprietress of a diner who takes Harvey in. Though based on a novel by Nelson Algren, this screenplay sometimes plays like sub-Tennessee Williams, with the rather laughable story-conceit that New Orleans was just another small town in the '30s (walk up the street and you've seen it all!). Capucine, haughty and breathless, matches up well with Harvey, and her run-ins with benefactor Stanwyck are heated, but those hoping for some crackling gay subtext will be disappointed (Barbara's inclinations aren't hypothetical, but she's hardly out of the closet). There are some good, fruity lines of tough-talking dialogue, and more sentimental moments that have surprising resonance (as when Baxter says, "Why can't two people care about each other...without the world making it dirty?"). Of course it's Hollywood-ized, with a camp score by Elmer Bernstein and Joanna Moore as the resident good-hearted tootsie who gets taken for granted. But Fonda has a great scene near the end when she helps Capucine out of a jam, and Harvey makes a big impression on the audience without overdoing or overstating his sleek handsomeness. *** from ****


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