6.9/10
218
6 user 1 critic

The Wild Party (1956)

Not Rated | | Crime, Drama, Film-Noir | 21 December 1956 (USA)
A night of terror in a sleazy nightspot, when an over-the-hill football star holds a thrill-seeking couple captive.

Director:

Harry Horner

Writers:

John McPartland (screenplay), John McPartland (story)
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Cast

Complete credited cast:
Anthony Quinn ... Tom Kupfen
Carol Ohmart ... Erica London
Arthur Franz ... Lt. Arthur Mitchell
Jay Robinson ... Gage Freeposter
Kathryn Grant ... Honey
Nehemiah Persoff ... Kicks Johnson
Paul Stewart ... Ben Davis
Nestor Paiva ... Branson
Maureen Stephenson Maureen Stephenson ... Ellen
Michael Ross ... Bouncer
James Bronte James Bronte ... Bartender
William Phipps ... Wino
Joseph J. Greene Joseph J. Greene ... Fat man (as Joe Greene)
Barbara Nichols ... Sandy
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Storyline

A night of terror in a sleazy nightspot, when an over-the-hill football star holds a thrill-seeking couple captive.

Plot Summary | Add Synopsis

Plot Keywords:

psychotronic film | See All (1) »

Taglines:

This is a Man ... as Wild as a Man Can Get. See more »

Genres:

Crime | Drama | Film-Noir

Certificate:

Not Rated | See all certifications »
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Details

Country:

USA

Language:

English

Release Date:

21 December 1956 (USA) See more »

Also Known As:

Fiesta sin fin See more »

Company Credits

Production Co:

Security Pictures See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (Western Electric Recording)

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Connections

Referenced in Broadway by Light (1958) See more »

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User Reviews

 
Lurid hostage melodrama with sexual overtones.
22 August 2006 | by noir guySee all my reviews

This lurid hostage melodrama with sexual overtones must have seemed pretty hot stuff back in 1956 (in fact it was as the UK censors initially refused it a certificate until it was subsequently cut for the most prohibitive X certificate), but like other delinquency dramas of the time BLACKBOARD JUNGLE and THE WILD ONE time has softened many of its harsher elements even if it hasn't quite smoothed of all of its rough edges. Beatnik pianist Kicks Johnson (Nehemiah Persoff – yeah, right!) tells us a cautionary tale from the previous year when he was part of the extended rootless network of broken- down ex-football star Tom Kupfen (Anthony Quinn) – the "wild party" of the title who was in desperate need of quick cash – as well as the easily influenced wayward middle- class teen Honey (Kathryn Grant, the future Mrs Bing Crosby) and suited-up sneering cowardly knife-man Gage (Jay Robinson), who learnt to pass for respectable by hanging out where else but at the movies. One night, Gage persuaded society beauty Erica (Carol Ohmart) and her somewhat reluctant military fiancé Lt. Arthur Mitchell (Arthur Franz) to leave their swanky hotel bar for some "safe excitement" watching jazz pianist Kicks in a downtown cellar bar. Here, the slobbish Tom made the first of a series of brutish plays for Erica (who may not have initially been that reluctant to receive the attention) before a plan took hold to kidnap the upscale "square" couple and extort cash from one of Arthur's connections. Director Harry Horner's most notable works from the period were the earlier RED PLANET MARS, BEWARE MY LOVELY and VICKI (the remake of I WAKE UP SCREAMING) although he enjoyed a near 40 year career as a production designer on the likes of THE HUSTLER, THEY SHOOT HORSES DON'T THEY and THE DRIVER and there's something of the latter films' attention to seedy nocturnal detail present here. What Horner served up is another 1950s example of the DESPERATE HOURS middle-class nightmare of the great unwashed fetching up on their doorstep to try and drag them to their doom (a theme that previously surfaced in THE PETRIFIED FOREST but that here seems to foreshadow the likes of LADY IN A CAGE, THE INCIDENT and even THE LAST HOUSE ON THE LEFT). However, this effort suffers from a somewhat wordy script by its source novel's author John McPartland (whose edgy Gold Medal paperback originals are well worth tracking down and whose novel NO DOWN PAYMENT became a key if somewhat elusive late 50s skewering of middle-class ideals) that generally tells rather than allows the film to show and therefore results in a movie which often seems somewhat stagy and static. That said, there's still an often seemingly authentically sleazy atmosphere pervading this long dark night of the soul for the hapless swells and lower depths denizens and if the ending seems rather abrupt and slightly ambiguous as to the fate of one of its principal characters it's nevertheless a punchy and pungent tale (like its 25c paperback origins) and is definitely worth the attention of period genre fans.


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