By Richard Winters
My Rating: 6 out of 10
4-Word Review: Runaway falls for drifter.
Daphne (Celia Kaye) is a 17-year-old who runs away from her foster parents (Woody Chambliss, Eva Novak) in order to meet her biological father (Ross Elliot) who resides in Los Angeles. On her journey from the east coast to the west she meets up with Fargo (Michael Parks) a drifter who teaches her the ropes of surviving on the streets. As their trip progresses so does Daphne’s feelings for Fargo who resists her advances despite having feelings for her as well.
This black-and-white mid ‘60s drama has too much of the same trappings of the teen runaway films that came both before and after it. There’s just nothing that particularly distinguishes it from the others, which hurts the ability of the viewer from getting into it because you think right from the start that you’ve essentially ‘seen it all before’. The film also has very little action and Daphne who at times acts with extraordinary naiveté could’ve had far worse things happen to her than what does giving the film a sanitized feel in regards to the runaway experience.
Kaye, who later went on to marry famous writer/director John Milius, lacks visual appeal and fails to seem all that ‘wild’ despite what the film’s title suggests. Much of the time she comes off as someone who is quite sheltered and timid about things and not anyone who would even consider going out recklessly into the world without much ‘street smarts’ to go with it. Her character shifts from being overly paternal about certain things, particularly the ‘lectures’ that she gives to Fargo, to acting incredibly naïve making her character lack any type of real center. She also fails to display a vulnerable side just a crusty defensive one. Instead of being someone the viewer cares for she replicates a pesky nag nobody would want hanging around.
Parks, in his film debut, channels James Dean a bit too much while his character remains an enigma that we learn very little about. The fact that he resists Daphne sexual advances, at least initially, was confusing as usually it’s the man that makes the first move. I kept figuring there had to be some reason for it that would come out later, like for instance he was secretly gay or insecure about his ability to perform, and yet no explanation is ever given.
The second-half improves as this is the type of film that grows on you if you’re patient. I enjoyed some of the long shots showing to the two from an extreme distance making them look like tiny little ants on the landscape, which nicely accentuates their place in the world as a whole. Bringing in the parents, both the biological and foster ones helps add to the drama and fills in the holes of the story, but having a relationship develop between the two leads didn’t seem authentic. Spending so much time trying to survive on the outer fringes of society doesn’t allow for much else most of all a romance. The film would’ve been more interesting had it expanded its timeline and shown how things ended up for the two 5 or even 10 years later and whether the relationship had remained, or whether they were even still alive at all.
My Rating: 6 out of 10
Released: May 5, 1965
Runtime: 1Hour 39Minutes
Director: Brian G. Hutton
Available: None at this time.
Low key, moody, downbeat and boring. The leads are barely animated let alone wild.
Wild? These 2 are tranquilized out of all emotion. They should have been playing 2 addicts on the run!
There was no way in bloody blazing H*LL it would have been even hinted that Michael Parks was gay or impotent. If it was an English movie, or a European art movie, maybe. It’s American, and one step up from the idiot Beach Party movies of the time.