Critical reception with publicity stills from the film
The Wild One was generally well received by film critics. Rotten Tomatoes reports that 76% critics have given the film a positive response based on 25 reviews, with a rating average of 7/10. Dave Kehr of the
Chicago Reader wrote, "Legions of Brando impersonators have turned his performance in this seminal 1954 motorcycle movie into self-parody, but it's still a sleazy good time."
Variety noted that the film "is long on suspense, brutality and sadism ... All performances are highly competent."
Leslie Halliwell stated in his ''Halliwell's Filmgoers Companion'' that the film was a "(b)rooding, compulsive, well-made little melodrama" whose narrative however does "lack dramatic point."
Controversies In the United Kingdom, the film was refused a certificate for public exhibition by the
British Board of Film Censors (BBFC), effectively banning the film for 14 years. There were some screenings in film societies where local councils overturned the BBFC's decision. In his book
Censored (Chatto & Windus 1994), Tom Dewe Matthews reports that then-chairman of the BBFC,
Arthur Watkins, rejected one of the many requests by Columbia Pictures for certification of the film, stating: Other members of the board such as his successor as chairman,
John Trevelyan, backed him, stating, reports Matthews, that: Columbia Pictures, Matthews wrote, even offered a new version of the film with a preface and a new ending but that too was rejected upon viewing by the BBFC. Matthews states that Trevelyan maintained his predecessor's stance, albeit in more conciliatory terms, when he assumed the chairmanship of BBFC, telling Columbia in a letter to them dated 3 April 1959: Matthews states that the film was rejected twice again, the second time after the scooter-riding
mods and motorcycle-riding rockers rioted at
Clacton in March 1964. It was only with someone not concerned with the original refusal –
Lord Harlech – assuming the chairmanship that
The Wild One was finally passed for general exhibition as, Matthews reports, "the film would no longer be likely to have its original impact". On November 21, 1967, the film was passed for exhibition by the BBFC and received an 'X' certificate. The premiere was, Matthews writes, at the Columbia Cinema, Shaftsbury Avenue in February 1968. In an article for
Sight & Sound (summer 1955 issue, vol. 25, no. 1), Halliwell opined the BBFC ban gave a wrong impression of the film and, had it been awarded an 'A' certificate, would have attracted limited audiences of those who appreciated Kramer's work with no sensation. Looking back at his decision, Trevelyan himself in his book
What the Censor Saw (Michael Joseph Ltd 1973), sought to justify and clarify his decision that he: There were objections to the film in the United States of America, too, but of a more commercial nature. According to the book
Triumph Motorcycles in America,
Triumph's then-US importers, Johnson Motors, objected to the prominent use of Triumph motorcycles in the film. The full text of the letter sent by Triumph's American importers to the President of the Motion Picture Association of America Inc was published in the April 1953 issue of
Motorcyclist magazine in the article "A Report on Stanley Kramer's Motion Picture of
The Wild One". Therein, Triumph's US importers stated that the film: Moreover, the letter went on to claim: Having visited the set, the
Motorcyclist journalist further stated: However, in the following decade,
Gil Stratton Jr, who played Mouse in the film, advertised Triumph motorcycles in his later career as a famous TV sports announcer. , the manufacturers publicly were publicly identifying Brando as a celebrity who had helped to "cement the Triumph legend". In the March 2, 1953, issue of
Time magazine at page 38, Marlon Brando acknowledged the controversy surrounding the production, saying he would retire from films because: Reflecting forty years later in his autobiography,
Songs My Mother Taught Me (1994, Random House), Brando said he had "had fun" making the film, but that "none of us involved in the picture ever imagined that it would instigate or encourage youthful rebellion". He noted that "[i]n this film we were accused of glamorizing motorcycle gangs, whose members were considered inherently evil, with no redeeming qualities." Brando also revealed that he could not watch the film for weeks because he thought it too violent. While he suspected that producer
Stanley Kramer, writer
John Paxton and director
Lazlo Benedek may have initially intended to illustrate how easy it was for men to descend into an amoral pack mentality, in the end "they were really only interested in telling an entertaining story." ==In popular culture==