To the extent that she ever enters into the consciousness of today's moviegoers, Joan Bennett is probably best remembered for four films------two directed by Fritz Lang and two helmed by Vincente Minnelli. The Lang pair are film noir classics from his American period that also starred Edward G. Robinson and Dan Duryea: The Woman in the Window (1944) and Scarlett Street (1946). The Minnelli duo featured Spencer Tracy and Elizabeth Taylor, and are beloved comedies from the Golden Age of Hollywood: Father of the Bride (1950) and Father's Little Dividend (1951). All of these movies presented us with a mature Joan Bennett from her brunette period (the better remembered one), when she looked a lot like Hedy Lamarr and often acted like her on the screen. Bennett was glamorous in a kind of worldly adult way during this period. She seldom generated real excitement but was always attractive and dependable. Bennett was regarded as the consummate professional while on the set.
Many (perhaps most) do not remember the Joan Bennett of her earlier (pre-1939) blond period, with the possible exception of appearing as Amy in the George Cukor version of Little Women (1933). During that period, she was radiant in her youthful beauty-----possibly striking would be a better description. She was charming, engaging, natural and likable in a wide variety of different roles-----a real audience pleaser. The virtually unknown Raoul Walsh production of Wild Girl (WG) was made for Fox Studio during Bennett's blond period, and captures a 22 year old youngster with all her lovely fresh appeal on full view. It is a real pity that WG is so rare and hard to find today.
The only male in the cast who matches Bennett in talent and attractiveness is supporting player Ralph Bellamy. Bellamy is by far the best actor in the film. He presents us with a complex, subtle and nuanced performance that seems quite modern for its time. Unfortunately, leading man Charles Farrell, once a silent film star, tries hard to register some romantic chemistry with Bennett-------but the best he appears able to muster is projecting a warm, sincere image.
WG has a good supporting cast that is largely unknown to contemporary audiences with the possible exception of frog-voiced Eugene Pallette. Walsh is considered by film historian Ephraim Katz to be "one of the most durable, prolific and proficient of Hollywood's directors" and is regarded by many critics to be "one of the great primitive artists of the screen." His mastery in 1932 of the problems posed by location photography and the related technical sound challenges of that time is quite remarkable.
For the fortunate few who will have the pleasure of seeing WG, you are in for a real treat! Seek it out!
