TRANSCRIPT 🔗
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It should have been the best party of 1929, all the Hollywood crowd came.
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Producers with their starlets, stars with a girlfriend, and boyfriends, and every hustler
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along Sunset Boulevard.
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They danced, they drank, they smoked, and they did a lot of other things behind closed doors.
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It should have been a great night like all the rest, but Hollywood almost collapsed at
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this party.
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Come to the Wild Party on the seamy side of the silver screen.
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The Wild Party stars James Coco as fat funny man Jolly Grimm and Raquel Welch as
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Queenie.
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Rated ‘R'.
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It's a night they're still whispering about.
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We're not talking about actors.
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We mean a real monster.
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I brought her back.
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She'll live and I'll get her another body.
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I know they're gonna catch me, but don't let anyone see me like that, please, Doctor, help me!
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Biologically speaking, it's a primary importance that man should want to mate.
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Hey, that's right!
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You don't get all your kicks from surfing, do you?
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We want to be free to ride our machines without being hassled by the man.
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And we want to get loaded.
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You think you're gonna make a slave of the world?
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I'll see you in Hell first!
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The American International Podcast.
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Welcome to the American International Podcast.
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I'm Cheryl Lightfoot.
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And I'm Jeff Markin.
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And you can consider this your invitation to The Wild Party from 1975.
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The Wild Party was directed by James Ivory from a screenplay by Walter Marks, which was based
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in part on "The Wild Party," a 1928 narrative poem by Joseph Moncure March.
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And it was produced by Ismail Merchant.
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The Wild Party stars James Coco as Jolly Grimm, Raquel Welch as Queenie, Perry King as
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Dale Sword, David Dukes as James “Jimmy" Morrison, Tiffany Bowling as Kate, Marya Small as Bertha,
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Royal Dano as Tex, Annette Ferra as Nadine Jones, Eddie Lawrence as Kruetzer, Bobo Lewis as
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Wilma, Don De Natale as Jackie.
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Also appearing, our Dena Dietrich as Mrs. Murchison, Regis J. Cordic as A.J. Murchison,
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Jennifer Lee as Madeline True, Baruch Lumet as the tailor,
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Fredric Franklyn as Sam the Mogul, J.S. Johnson as Morris the Mogul, Tom Reese as Eddy the
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stuntman, Geraldine Baron as Grace Jones, Michael Grant Hall as Oscar D’Armano,
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Skipper as Philip D’Armano, Ralph Manza as the fruit dealer, and Martin Kove as Eddie,
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the editor.
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The Wild Party opens with some brief production credits and a snippet of our theme song.
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The movie proper opens with Jim Morrison, not that one, breaking the fourth wall.
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The Wild Party is already in progress and he's describing poetically random guests.
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First he introduces us to is Madeline Tru, a cutie pie sweetheart actress, a bisexual
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lesbian, and then Sam and Morris the movie Moguls, and then a character called Jackie who
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he said supplied the marijuana and later he'll bring out the cocaine, morphine and Turkish
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hash.
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Everything is needed for a proper bash.
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He's followed by Bertha who was a dancer who had to quit after an injury that was caused
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by Jackie, but she's a follows him around with a limp and she still works for him though.
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Because he's her pimp.
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Eddie Mangione is a stuntman and he's escorting Grace Jones.
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Not that one.
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And he introduces us to the piano players.
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There's two of them.
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It's Oscar D’Armano and Philip D’Armano, their brothers, but something in his introduction
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intimates that perhaps they are lovers too.
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They get new preaches to the phrase brotherly love.
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And then Yakadoo, Whakadoo, it's party party party time.
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And James takes the opportunity to introduce us to our hosts, Queenie and Jolly Grim.
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Queenie is a mistress of Jolly.
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He's the funny man of the movies.
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Then we're presented with a new title card telling us that this is Hollywood 1929 and the
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time is the morning of the party.
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Hope that flashback didn't give you a whiplash Jeff.
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Queenie is sleeping in late.
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Load full transcript
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She had a rough night obviously.
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Wilma the maid brings in her breakfast and opens the curtains, waking Queenie with a greeting
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of morning.
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Queenie's hair and makeup is near perfect despite her previous evening's carousing.
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And the sleep that came afterwards.
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Queenie rolls over away from the sunlight.
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She tosses in bed for a bit and she can hear Jolly Grim being fitted for a suit in another
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room.
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Well, he's very loud.
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Jolly's negotiating with his tailors for a jacket that actually fits him.
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They refuse to make it big enough.
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He tells them that he's premiering his new film Brother Jasper tonight at the wild party.
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And he plans to raise his hands in the air and say roll the film.
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He demonstrates how this move will go and he rips the back out of his coat.
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I think it's important for us to say that the reason for this party is to premiere this
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film.
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Jolly Grim is kind of a has been actor.
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He's been working on this film that he independently produced himself and he's been
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working on it for the past few years.
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So he's hoping to find a buyer for it at this party.
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Yes, he's got studio moguls coming.
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And it's also important to note that in 1929, silent films, which Jolly was known for
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are being phased out and the talkies are coming.
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So he has to bridge that gap somehow if he can.
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And speaking of silent movies, now we see a little snippet of Brother Jasper.
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And from there we are treated to scenes from several of Grim's other comedies as the opening
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credits roll.
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And the one credit that I noticed was that the music and lyrics are by Walter Marks, the
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screenwriter.
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Now we're back to party planning.
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Jolly is drinking as Wilma tries to vacuum, but Jolly tells her to turn that noise off.
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Queenie busts into the room to announce that Goldstone can't come.
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He's going to a party at Pickfair, the home of A-Listers Douglas Fairbanks and Mary Pickford.
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Jolly asked if they were invited to
that party and Queenie obviously lying says yes, but
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she threw the invitation away.
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She was the same night as their party after all, and they couldn't have gone.
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Just then the phone rings and its Queenie's friend Kate on the other end.
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She says she will be coming to the party tonight and she will be bringing her new bow actor
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Dale Sword.
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Dale just finished his first picture and is an up and coming star.
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Queenie begs Kate to arrive in time for the screening.
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She's trying to keep it Jolly for Jolly who is excited about tonight.
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Now we're with Tex who is Jolly's driver/bodyguard.
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He's getting dressed to go out and before he puts his jacket on, he straps on a gun.
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Wilma comes in with a list of the alcohol needed for tonight and Tex can't believe how
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much gin they're getting.
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Yes, about Jolly and Wilma says he's as nervous as a cat and that he wants to go to Pasadena
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and now.
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She warns them to look out for hijackers as she fixes his collar and then they leave.
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Now Grim is showing Brother Jasper to James, our former narrator, while editor Eddie
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handles the equipment.
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It was wild to see Martin Cove looking so young in a very small part in this movie.
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Eddie is setting up the second reel of the film.
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It's not being projected.
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It's on a-
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Viewer screen?
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One of those nickel-
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It's not a, yeah, like a Nickelodeon thing.
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It's not a flatbed but-
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I don't know the technical term.
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It's a viewer.
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James had written out some of the telecards as a favor but Jolly had given him co-writing
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credit for that.
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James says they agree that he wouldn't receive credit but Jolly felt that produced, directed
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starring and written by Jolly Grim was a bit much and besides, he likes to help out the
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little guy.
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Then Jolly shows Jim the full cannibal scene in Brother Jasper as a song of funny man plays
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out.
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He wants Jim
to see his new dialogue card.
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The scene is of a monk being captured by some natives in Africa, their white men in
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Blackface. It's pretty racist and I guess typical of the 1920s were supposed to think.
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But they capture him and they're trying to force him into a giant pot of boiling water.
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And the title card that Jolly is so proud of says, "You can't boil me.
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I'm a friar."
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At that, James turns off the film.
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Jolly asks why he stopped and James is going to give him his honest opinion.
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The cannibal scene, while funny, doesn't really fit in with the tone of the rest of the film
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and should be cut.
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But Jolly isn't one to graciously accept this criticism.
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James turns back to watch the rest of the flick, but Jolly tells him not to bother.
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He sends James off and James leaves, telling Jolly that he'll see him at the party tonight.
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As Martin Kove stands by awkwardly.
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Now we're on the road with Tex and Jolly.
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Tex is driving.
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It appears to be a period appropriate car on unincorporated lands somewhere on the coast.
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Tex is trying to sue Jolly's ego.
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Jolly says Queenie's real mad at me.
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We don't see why, but if you watch the full cut of the movie and set of the AIP cut that we
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watched, you would know it's because he slapped her in the face.
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Jolly says Queenie doesn't need him anymore.
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She's got enough star power to work without him.
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So he's going to ask her to marry him as soon as he gets brother Jasper off the ground and
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everything settled.
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We go back to the house to watch Queenie do a dance number in front of her mirror to
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the song "That Queenie of Mine."
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And then we're back with Jolly.
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He asks Tex if he thinks Queenie will have him.
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And Tex is risen that she's crazy about him.
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Now we see Tex and Jolly buying fruit from a star-struck roadside fruit vendor.
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The vendor introduces his daughter Rosa to Jolly and asks why he know make it the pictures
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anymore.
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Jolly says he has a new one coming out tonight.
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And then the vendor makes his daughter Rosa kiss Jolly for luck against Jolly's wishes
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and probably hers.
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But he does eye her and calls her beautiful.
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The vendor tries to give Jolly some fruit for free, well a cantaloupe.
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But Tex manages to force the money into his hand anyways.
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And then they leave.
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And then we're back at the house and then we see Jolly being fitted again for his suit.
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Queenie calls out from the other room that Kreitzer can't come to the party.
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Jolly goes over to take the phone and learns that Kreitzer plans on going to pick fair tonight
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instead.
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But Jolly really wants him to come.
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Kreitzer is a studio head and Jolly really needs him to see Brother Jasper.
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So Jolly promises him two redheads will be at his back and call if he comes tonight.
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Which is enough to convince Kreitzer.
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He'll be there.
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Jolly says that those redheads will play Mozart on Kreitzer's stomach if he wants.
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Jolly hangs up and talks to Queenie.
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He's complimenting her and staring moonily at her as she prips for the party.
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Queenie asks who these redheads in question are and Kreitzer says he'll figure it out later.
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Alma is a redhead so he can fall back on her if need be.
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I wonder if Wilma knows about that plan.
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Texts the aforementioned Wilma and Jimmy come in.
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The guests are arriving.
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But first they're going to share a toast.
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It's a toast to Jolly but he merely clinks instead of drinks.
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He's not drinking alcohol right now.
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And then we cut down to the party which is pretty helping.
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It's actually the exact same footage we saw when James introduced us to the party
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goers at the beginning of the movie.
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So we've looped back.
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So it's the same footage without the narration.
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And then we take over from the point where Jolly and Queenie swan out into the balcony
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overlooking all the assembled guests.
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There's a bit of applause and then we see Jimmy looking at Queenie presumably love straw.
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Queenie and Jolly begin to mingle with the guests and Jolly glad hands to studio people.
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They greet Sam and Morris the moguls and briefly discuss brother Jasper.
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Then they go off to greet the merchants who have just arrived.
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This is Merchuson calls Queenie Mrs. Grimm which makes Queenie look a little uncomfortable.
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She also says that she loves the house.
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It's so hisponic.
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And she wants it on the tour one day.
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The merchants announced that they plan on going to pick for its party that evening.
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So Mr. Merchuson asks how long this picture is that Jolly wants them to see.
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Jolly tells him it's 82 minutes long and from the looks on Mr. Merchuson's face that's
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too long.
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So Jolly adds maybe less.
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Jolly tells Tex to get everyone into the projection room.
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They're getting started now.
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Tex and Queenie both object.
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Tex mentions that Kreitzer's not there yet and Queenie wants to wait for Kate and Dale.
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But Jolly isn't waiting.
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He goes back to the merchants and tries to explain the inspiration behind the character
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of brother Jasper.
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But Mr. Merchuson just looks confused.
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But now Jolly claps his hands and shouts movie time and starts ushering people into the
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screening room.
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But just then Kate arrives and announces herself and really is Pash Mr. Dale sword.
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His sharpest blade in the Hollywood Hills.
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He goes over to hug her friend and Kate introduces her to Dale.
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Queenie's and Dale's eyes meet and there is a connection between them that can only mean
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trouble.
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Jolly comes to gather Queenie to take her into the screening room and she takes the
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moment to introduce him to Dale.
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00:12:53,600 --> 00:12:57,040
He gives a quick how do you do before escorting Queenie to the screening room.
234
00:12:57,040 --> 00:12:59,480
Dale and Merchuson hang back for a chat.
235
00:12:59,480 --> 00:13:03,560
The Merchuson's tale Dale that his picture is done very well in New Orleans and Dale's
236
00:13:03,560 --> 00:13:05,160
delighted to hear that news.
237
00:13:05,160 --> 00:13:08,280
But then everyone makes their way into Jolly's home theater.
238
00:13:08,280 --> 00:13:11,480
It's a screen in a big room with chair set up for the audience.
239
00:13:11,480 --> 00:13:16,480
There's an unseen orchestra playing and Jolly stands before the crowd to introduce the
240
00:13:16,480 --> 00:13:18,680
film that he's so proud of.
241
00:13:18,680 --> 00:13:22,960
He thinks his crew, Nick, Jimmy, Eddie and the rest and says that they made it through
242
00:13:22,960 --> 00:13:23,960
this production.
243
00:13:23,960 --> 00:13:25,640
Sounds like it might have been a little tough.
244
00:13:25,640 --> 00:13:29,280
And then he tells the audience that he's presenting the film to them.
245
00:13:29,280 --> 00:13:32,600
To love he hopes and better yet to fight over.
246
00:13:32,600 --> 00:13:36,400
He points at the Merchuson's there who look a bit uncomfortable at that.
247
00:13:36,400 --> 00:13:40,000
But Jolly says he couldn't give Brother Jasper to nicer people.
248
00:13:40,000 --> 00:13:41,000
And then there's the pause.
249
00:13:41,000 --> 00:13:45,060
Jolly tells the projectionist to roll the film and then he goes to the back to nervously
250
00:13:45,060 --> 00:13:47,080
pace around and smoke.
251
00:13:47,080 --> 00:13:50,640
He stands back to watch the crowd's reaction and there is scattered laughter as Brother
252
00:13:50,640 --> 00:13:55,600
Jasper rings a bell, flying up and down with the rope as it rises and falls.
253
00:13:55,600 --> 00:13:57,520
Showing up his underpants.
254
00:13:57,520 --> 00:14:01,840
Dale turns away from the film to stare at Queenie and Kate notices this.
255
00:14:01,840 --> 00:14:06,520
As does Queenie who looks a little bit alarmed and Jolly is noticing that the Merchuson's reactions
256
00:14:06,520 --> 00:14:08,720
aren't exactly what he was hoping for.
257
00:14:08,720 --> 00:14:11,960
Most of the party goers seem to quickly lose interest in the film as her whispering amongst
258
00:14:11,960 --> 00:14:12,960
themselves.
259
00:14:12,960 --> 00:14:15,360
Mr. Merchuson looks outright bored.
260
00:14:15,360 --> 00:14:18,720
Kate however is looking at the screen with a big smile on her face.
261
00:14:18,720 --> 00:14:20,200
So was Mrs. Merchuson.
262
00:14:20,200 --> 00:14:23,840
Dale keeps stealing glasses at Queenie and she at him.
263
00:14:23,840 --> 00:14:28,080
Finally Jolly is fed up and he leaves to go out to the courtyard because the waiter asking
264
00:14:28,080 --> 00:14:29,760
for a drink.
265
00:14:29,760 --> 00:14:32,560
And then a teenage wife comes up to Jolly.
266
00:14:32,560 --> 00:14:36,480
She's carrying a suitcase and she asks if this is Mr. Grim's house.
267
00:14:36,480 --> 00:14:42,280
Jolly says yes and then she asks do you know where Mr. Grim is and he says I'm right here.
268
00:14:42,280 --> 00:14:45,800
She tells him that she didn't recognize him and that he looks so much smaller in person
269
00:14:45,800 --> 00:14:48,640
and the screen he looks so enormous.
270
00:14:48,640 --> 00:14:50,600
He interrupts her and asks who she is.
271
00:14:50,600 --> 00:14:56,200
She says Grace Jones is her sister and her name is Nadine and she hitchhiked all the way
272
00:14:56,200 --> 00:14:58,200
from Burbank to get there.
273
00:14:58,200 --> 00:15:02,280
She says that she's a dancer, a good one and she wants to dance for all the Hollywood people
274
00:15:02,280 --> 00:15:03,280
tonight.
275
00:15:03,280 --> 00:15:07,760
And Jolly says this isn't a good time much to Nadine's disappointment.
276
00:15:07,760 --> 00:15:11,440
But Jolly tells her that she should go inside and ask Wilma for some food.
277
00:15:11,440 --> 00:15:14,120
There's Susperilla in the ice box.
278
00:15:14,120 --> 00:15:19,920
Nadine thinks Jolly and says maybe later and he says we'll see and he shows her inside.
279
00:15:19,920 --> 00:15:24,120
In the theater the cannibal scene isn't changing anyone's mind, certainly not Merchuson's.
280
00:15:24,120 --> 00:15:28,320
Once back inside Jolly sees that Kreitzer has finally arrived, Jolly takes him to the
281
00:15:28,320 --> 00:15:31,600
screening room to see the last real of brother Jasper.
282
00:15:31,600 --> 00:15:34,200
Kreitzer looks more disgusted than amused by the film.
283
00:15:34,200 --> 00:15:36,240
Aside he only came for the redheads.
284
00:15:36,240 --> 00:15:40,400
The film ends, the little girl walks but only to light applause.
285
00:15:40,400 --> 00:15:44,560
As the guest pour out of the screening room, the Merchuson stop Jolly to say goodbye before
286
00:15:44,560 --> 00:15:46,440
they head to pick fair.
287
00:15:46,440 --> 00:15:50,160
Mrs. Merchuson says she enjoyed the film but suggests that Jolly changed the little girl
288
00:15:50,160 --> 00:15:52,760
to a little boy like in that old film The Kid.
289
00:15:52,760 --> 00:15:56,120
Mr. Merchuson says that he's sure that the film turned out just the way that the film
290
00:15:56,120 --> 00:15:57,120
wanted it.
291
00:15:57,120 --> 00:16:01,320
Jolly trying to save a potential deal says that's not entirely true that they're still
292
00:16:01,320 --> 00:16:03,200
editing to be done.
293
00:16:03,200 --> 00:16:07,600
But the Merchuson are leaving now and AG doesn't have time to discuss this right now.
294
00:16:07,600 --> 00:16:11,520
The Merchuson's catch up to Kate and Dale Sord and AG says that they can call for their
295
00:16:11,520 --> 00:16:14,360
car and they can all ride over to pick fair together.
296
00:16:14,360 --> 00:16:17,360
But Taylor says if it's all the same to them that he'd rather stay at this party for
297
00:16:17,360 --> 00:16:20,320
a while, Queenie tries to hide how this makes her feel.
298
00:16:20,320 --> 00:16:21,640
Jolly runs up the stairs.
299
00:16:21,640 --> 00:16:25,240
He's still trying to convince AG Merchuson to pick up the picture.
300
00:16:25,240 --> 00:16:30,280
He tells him that Kreizer wants the film but
Mammoth Studio doesn't have AG's setup.
301
00:16:30,280 --> 00:16:34,600
AG encourages Jolly to sell to Kreizer if he really wants the movie.
302
00:16:34,600 --> 00:16:38,720
Mrs. Merchuson reminds Jolly that she wants his house on her tour.
303
00:16:38,720 --> 00:16:43,120
Jolly offers to call AG on Monday but AG obviously doesn't want that.
304
00:16:43,120 --> 00:16:46,800
He says call later in the week and then they finally get away from him.
305
00:16:46,800 --> 00:16:50,200
As the Merchuson drive off, Queenie tries to cheer Jolly up.
306
00:16:50,200 --> 00:16:54,360
She tells Jolly that the screening went well and people seemed to like the picture.
307
00:16:54,360 --> 00:16:57,960
But Jolly is upset that the Merchuson's left without speaking to him about it and Queenie
308
00:16:57,960 --> 00:17:02,960
reminds him that Kreizer is still there and she thinks it's a swell picture but Jolly
309
00:17:02,960 --> 00:17:05,160
doesn't care what Queenie thinks.
310
00:17:05,160 --> 00:17:07,480
He says who gives a flying fog what you think?
311
00:17:07,480 --> 00:17:10,640
He tells Queenie he's not interested in her thoughts.
312
00:17:10,640 --> 00:17:12,640
She's just supposed to look good.
313
00:17:12,640 --> 00:17:13,640
Keep your trap shut.
314
00:17:13,640 --> 00:17:14,640
He says bitterly.
315
00:17:14,640 --> 00:17:18,760
Looks like he's really paving the way for a successful proposal.
316
00:17:18,760 --> 00:17:21,400
Queenie turns around and goes inside.
317
00:17:21,400 --> 00:17:23,520
And inside the party continues.
318
00:17:23,520 --> 00:17:25,520
There's a sing along going on by the piano.
319
00:17:25,520 --> 00:17:29,480
Madeline meets Bertha and she seems pretty smitten by her.
320
00:17:29,480 --> 00:17:33,440
Jackie the Pimp suggests that Queenie, she regale the crowd with her performance.
321
00:17:33,440 --> 00:17:37,320
Queenie tries to beg off but fill the piano player suggests Singapore Sally.
322
00:17:37,320 --> 00:17:39,480
He and Asuki know that one.
323
00:17:39,480 --> 00:17:40,880
And so she obliges.
324
00:17:40,880 --> 00:17:45,240
Jolly goes over to Kreizer and corners him telling him that for the right deal, he thinks
325
00:17:45,240 --> 00:17:47,440
he can get the rights away from Merchuson.
326
00:17:47,440 --> 00:17:50,680
Kreizer thinks that other Jasper is behind the times.
327
00:17:50,680 --> 00:17:53,960
Silence our past say and sound of the new big thing.
328
00:17:53,960 --> 00:17:56,160
Jolly assures them they can add sound with dubbing.
329
00:17:56,160 --> 00:17:57,800
But Kreizer is done talking shop.
330
00:17:57,800 --> 00:18:00,640
He must know where the redheads are that he was promised.
331
00:18:00,640 --> 00:18:02,760
So Jolly goes off to find a couple of redheads.
332
00:18:02,760 --> 00:18:05,560
Queenie is still performing Singapore Sally.
333
00:18:05,560 --> 00:18:06,560
It's not over yet.
334
00:18:06,560 --> 00:18:09,120
Now she's doing a little soft shoe with a cane.
335
00:18:09,120 --> 00:18:15,040
Meanwhile Nadine has found her sister Grace and asks if she can show Jolly her moves now.
336
00:18:15,040 --> 00:18:17,440
But Grace says that Jolly looks a little busy right now.
337
00:18:17,440 --> 00:18:21,760
Jolly is whispering in the ear of a redheaded woman and escorting her over to where Kreizer
338
00:18:21,760 --> 00:18:22,760
is waiting.
339
00:18:22,760 --> 00:18:26,400
Downstairs, Queenie finally wraps up Singapore Sally.
340
00:18:26,400 --> 00:18:27,400
So much applause.
341
00:18:27,400 --> 00:18:31,440
Dale helps Queenie off the stage and praises her effusively.
342
00:18:31,440 --> 00:18:33,160
He asks for a private dance.
343
00:18:33,160 --> 00:18:36,000
He says he's no permanent castle but might he have the next dance?
344
00:18:36,000 --> 00:18:41,360
She accepts and asks Kate if that's okay and Kate has no choice but to agree.
345
00:18:41,360 --> 00:18:44,920
Queenie says they should dance in the garden where it's more quiet.
346
00:18:44,920 --> 00:18:47,600
As they walk away, Kate looks very regretful.
347
00:18:47,600 --> 00:18:51,440
James steps Queenie to warn her that she's asking for trouble.
348
00:18:51,440 --> 00:18:55,000
Queenie assures in that she's fine and Dale tells James that he's next under dance car
349
00:18:55,000 --> 00:18:57,040
and he'll have to wait his turn.
350
00:18:57,040 --> 00:19:00,500
Jamie says he just wanted to talk to her and Dale mocks him by threatening to do him with
351
00:19:00,500 --> 00:19:01,820
imaginary swords.
352
00:19:01,820 --> 00:19:05,520
On God, Mr. He says and James just swatts him away.
353
00:19:05,520 --> 00:19:07,480
Now Jolly is looking for Queenie.
354
00:19:07,480 --> 00:19:10,560
Text tells Jolly about the Singapore Sally performance in the bar.
355
00:19:10,560 --> 00:19:13,920
Then we cut to Dale and Queenie dancing very romantically.
356
00:19:13,920 --> 00:19:20,840
And back inside, Kreitzer, now with his red heads, is having to endure a Jolly grim pitch.
357
00:19:20,840 --> 00:19:23,840
Kreitzer says audiences don't want to see monks.
358
00:19:23,840 --> 00:19:25,560
They want to see gangsters.
359
00:19:25,560 --> 00:19:31,160
So Jolly jumps on this and proposes that they add a scene where they put Jasper in a bank.
360
00:19:31,160 --> 00:19:35,480
He acts out the entire scene using a pipe as a substitute for a gun.
361
00:19:35,480 --> 00:19:40,200
Text helps out and when Jolly threatens his character with his gun, text refuses to
362
00:19:40,200 --> 00:19:41,640
stand down.
363
00:19:41,640 --> 00:19:45,000
Because I haven't snow, you're on a tobacco.
364
00:19:45,000 --> 00:19:47,120
Now who's the funny man?
365
00:19:47,120 --> 00:19:48,120
Everyone laughs.
366
00:19:48,120 --> 00:19:51,400
Jolly wants to know what Kreitzer thinks, but Kreitzer puts him off.
367
00:19:51,400 --> 00:19:52,400
They'll talk later.
368
00:19:52,400 --> 00:19:54,440
He's got red heads to take care of.
369
00:19:54,440 --> 00:19:57,840
Back out in the garden, Dale and Queenie are drinking champagne.
370
00:19:57,840 --> 00:20:02,000
He proposes a toast to her and goes in for a kiss.
371
00:20:02,000 --> 00:20:03,160
Please don't, she says.
372
00:20:03,160 --> 00:20:10,200
Now it's time for the first of our three odd Chinese lantern transitions where we see
373
00:20:10,200 --> 00:20:11,800
a set of Chinese lanterns.
374
00:20:11,800 --> 00:20:15,560
It defocuses and then we fade up to another scene.
375
00:20:15,560 --> 00:20:17,440
It's odd.
376
00:20:17,440 --> 00:20:21,640
We fade up to the ballroom where everyone is dancing the Herbert Hoover drag.
377
00:20:21,640 --> 00:20:24,040
That's the actual name of the song.
378
00:20:24,040 --> 00:20:29,000
Dale is still dancing with Queenie inside and Kate is looking pretty devastated, but it's
379
00:20:29,000 --> 00:20:32,400
a pretty jazzy number so they aren't slow dancing at least.
380
00:20:32,400 --> 00:20:37,600
We see Nadine dancing with her sister Grace and then Jackie goes in for a solo spot.
381
00:20:37,600 --> 00:20:39,560
This is a choreograph number.
382
00:20:39,560 --> 00:20:43,120
She's got a lot of vocal line dance and the music gets faster and faster until everyone
383
00:20:43,120 --> 00:20:44,640
collapses on the floor.
384
00:20:44,640 --> 00:20:49,080
Then we see Bertha trying to drum up business at the bar, but she's not having much luck.
385
00:20:49,080 --> 00:20:54,840
There's a couple of guys doing a sort of ventriloquist act that keep mocking her.
386
00:20:54,840 --> 00:20:56,480
It's extremely annoying.
387
00:20:56,480 --> 00:21:01,400
It's a man sitting on another man's lap and pretending to be a dummy.
388
00:21:01,400 --> 00:21:04,240
We don't know his actual intelligence.
389
00:21:04,240 --> 00:21:09,680
He's saying rude things to people under the guise of being a ventriloquist dummy.
390
00:21:09,680 --> 00:21:14,240
But fortunately for Bertha, Madeline comes up to rescue her from this lame bit.
391
00:21:14,240 --> 00:21:18,200
Bertha effusively praises Madeline's screen kiss with some actor, but it's clear that
392
00:21:18,200 --> 00:21:23,360
Madeline only has eyes for Bertha and eventually she leads her away from the two dummies.
393
00:21:23,360 --> 00:21:27,040
Meanwhile, Queenie and Dale have taken a seat in the hall.
394
00:21:27,040 --> 00:21:29,800
Kate joins them and tells Dale that it's time to go.
395
00:21:29,800 --> 00:21:31,560
Aren't you having funny-ass?
396
00:21:31,560 --> 00:21:34,000
And she replies, "No."
397
00:21:34,000 --> 00:21:36,160
Besides, it's still up to go to Pickford's party.
398
00:21:36,160 --> 00:21:38,960
Dale asks Queenie to come with them, but Queenie reminds her that she's the hostess of this
399
00:21:38,960 --> 00:21:41,560
party and kind of has an obligation to stay.
400
00:21:41,560 --> 00:21:44,080
So Dale decides he's not going either.
401
00:21:44,080 --> 00:21:46,560
He asks Kate if she would mind going on alone.
402
00:21:46,560 --> 00:21:49,760
She serves to say she doesn't want to go alone and ends up spilling Dale's drink all over
403
00:21:49,760 --> 00:21:50,760
him.
404
00:21:50,760 --> 00:21:53,320
He jumps up and Queenie starts wiping him down.
405
00:21:53,320 --> 00:21:58,160
When Jolly appears telling her, "I'm warning you, lay off that guy."
406
00:21:58,160 --> 00:21:59,160
And Queenie asks why?
407
00:21:59,160 --> 00:22:02,440
They start bickering and Dale inserts himself between the two.
408
00:22:02,440 --> 00:22:05,840
He says to Jolly, "Hemce you had too much to drink, old sport?"
409
00:22:05,840 --> 00:22:08,800
And then all of them start tussling on the stairs.
410
00:22:08,800 --> 00:22:13,880
Tex and Jimmy hold Jolly back as he insults Dale for only having one picture to his 27.
411
00:22:13,880 --> 00:22:17,000
He calls him a cheap Valentino knockoff.
412
00:22:17,000 --> 00:22:20,280
Dale pulls Queenie, but not Kate away from the strife.
413
00:22:20,280 --> 00:22:22,880
James and Tex drag Jolly back into the bar room.
414
00:22:22,880 --> 00:22:27,080
Jolly hurdles himself down a short flight of stairs falling on his back with the help
415
00:22:27,080 --> 00:22:31,800
of Jimmy and Tex, he gets up again and stands on the landing, which serves as a balcony
416
00:22:31,800 --> 00:22:33,720
overlooking his guests.
417
00:22:33,720 --> 00:22:36,520
And now it's time for his Oscar bait speech.
418
00:22:36,520 --> 00:22:39,600
He stands up and says, "Who do you think got me where I am?
419
00:22:39,600 --> 00:22:42,800
My mother, my father, they dumped me when I was six years old.
420
00:22:42,800 --> 00:22:46,480
The nuns, they taught me to feel guilty just about being alive.
421
00:22:46,480 --> 00:22:47,840
And who do you think taught me to act?
422
00:22:47,840 --> 00:22:50,280
My teachers never had one.
423
00:22:50,280 --> 00:22:52,640
Directors, I directed them."
424
00:22:52,640 --> 00:22:54,000
So who built my career?
425
00:22:54,000 --> 00:22:56,480
Agents, blood suckers for 10%.
426
00:22:56,480 --> 00:23:01,000
Studios, a bunch of horses' asses with nothing but dollar signs in their penny brains.
427
00:23:01,000 --> 00:23:02,000
So who made Jolly Grim?
428
00:23:02,000 --> 00:23:07,440
I'll tell you who, little old big old me, that's who, me, and I'll do it again.
429
00:23:07,440 --> 00:23:11,840
Not because of any help from you, you free-loaders, but in spite of you, I'm going to come back,
430
00:23:11,840 --> 00:23:15,400
I'm going to come back shining and big and bright and hot, hotter than ever.
431
00:23:15,400 --> 00:23:18,480
And I don't need help from anybody, not even you, Queenie.
432
00:23:18,480 --> 00:23:21,200
Here he breaks, almost sobbing.
433
00:23:21,200 --> 00:23:25,680
But just then Nadine dresses some kind of forest sprite finds him and leads him down the
434
00:23:25,680 --> 00:23:28,800
stairs to a conveniently placed throne.
435
00:23:28,800 --> 00:23:34,400
Just a big chair facing the ballroom floor, and she
begins to dance for him, weirdly.
436
00:23:34,400 --> 00:23:36,320
Jolly gets tears in his eyes.
437
00:23:36,320 --> 00:23:38,920
This is reminding him of Queenie when he first found her.
438
00:23:38,920 --> 00:23:40,600
Well, this is going on.
439
00:23:40,600 --> 00:23:44,280
Queenie is telling the tale, to Dale of how she and Jolly got together.
440
00:23:44,280 --> 00:23:46,640
This made us question when we were watching this.
441
00:23:46,640 --> 00:23:50,920
Is Jolly looking at Nadine thinking that Nadine might be the next Queenie?
442
00:23:50,920 --> 00:23:55,320
Or is he totally not focusing on Nadine and thinking of when he and Queenie were first
443
00:23:55,320 --> 00:23:57,120
in item?
444
00:23:57,120 --> 00:23:58,360
I'm not sure, are you?
445
00:23:58,360 --> 00:24:02,040
I tend to think it's the latter, but I think you think it's the former.
446
00:24:02,040 --> 00:24:05,480
Yeah, that's just because I know what happens later in the film.
447
00:24:05,480 --> 00:24:07,480
I'm thinking that might be the case.
448
00:24:07,480 --> 00:24:11,920
But it's really hard to tell from Jolly's expression because he's completely blank.
449
00:24:11,920 --> 00:24:14,800
He's totally elsewhere, whatever he's looking at.
450
00:24:14,800 --> 00:24:16,120
It's not really Nadine.
451
00:24:16,120 --> 00:24:17,600
So you might be right.
452
00:24:17,600 --> 00:24:22,000
Regardless Nadine finishes her dance, and Jolly does appear to be moved.
453
00:24:22,000 --> 00:24:24,200
Likewise, Queenie finishes her storytelling.
454
00:24:24,200 --> 00:24:26,560
I said, there'll be session with Dale.
455
00:24:26,560 --> 00:24:31,360
And she wonders what it has all led to, and Dale suggests that maybe it's led to him.
456
00:24:31,360 --> 00:24:33,200
Queenie doesn't look that convinced, though.
457
00:24:33,200 --> 00:24:37,480
Then there's another Chinese lantern transition to an orgy.
458
00:24:37,480 --> 00:24:39,960
It's sex, drugs, and ragtime.
459
00:24:39,960 --> 00:24:44,240
There's three sooms, the devil's triangle, bear breasts, a lesbian seduction.
460
00:24:44,240 --> 00:24:46,280
That's Madeline and Bertha.
461
00:24:46,280 --> 00:24:49,240
And piles of half-naked people riding on the floor.
462
00:24:49,240 --> 00:24:51,880
I guess this party just got wild.
463
00:24:51,880 --> 00:24:54,280
Jackie is snorting Coke and spreading that around.
464
00:24:54,280 --> 00:25:00,360
Races hooked up with a guy, a pile of bodies, two guys in a grill, Charlie and Phil.
465
00:25:00,360 --> 00:25:03,000
And the song ate nothing bad about feeling good.
466
00:25:03,000 --> 00:25:04,760
That's the ragtime, I mentioned.
467
00:25:04,760 --> 00:25:09,520
Elsewhere, Jolly is roaming the hallways, opening doors on various sexual tabloes looking
468
00:25:09,520 --> 00:25:10,520
for Queenie.
469
00:25:10,520 --> 00:25:13,040
Nadine is trailing after him.
470
00:25:13,040 --> 00:25:16,680
And then we go back to the orgy for more scenes of the bottery.
471
00:25:16,680 --> 00:25:21,440
We do cut in on Madeline and Bertha, and actually they seem really happy.
472
00:25:21,440 --> 00:25:25,960
It's probably the best sex that Bertha's ever had, and she kind of deserves it after
473
00:25:25,960 --> 00:25:27,160
what she's been through.
474
00:25:27,160 --> 00:25:32,200
Jolly checks behind another door, and Nadine trying to be helpful checks another.
475
00:25:32,200 --> 00:25:33,360
And Nadine pauses.
476
00:25:33,360 --> 00:25:38,440
She's founder of Sister with a man who's not Eddie, the stunt man that she arrived with.
477
00:25:38,440 --> 00:25:40,160
Nadine looks distraught.
478
00:25:40,160 --> 00:25:41,920
Jolly tells her not to cry.
479
00:25:41,920 --> 00:25:45,120
And he takes her down to the kitchen for some a Will miss angel food cake.
480
00:25:45,120 --> 00:25:46,120
That should help.
481
00:25:46,120 --> 00:25:50,640
Kate is in another room talking to Jimmy, trying to justify her cheating bow.
482
00:25:50,640 --> 00:25:53,960
Kate says that you got to be philosophical about these things.
483
00:25:53,960 --> 00:25:56,400
I understand why my best friend would run off with Dale.
484
00:25:56,400 --> 00:25:59,040
I mean, everyone knows what kind of a life she has with Jolly.
485
00:25:59,040 --> 00:26:00,040
It's no secret.
486
00:26:00,040 --> 00:26:03,880
To me, I was to find them because he doesn't like the idea of Kate and Dale together.
487
00:26:03,880 --> 00:26:08,160
And Kate says that she understands that he's been stuck on Queenie for years, playing
488
00:26:08,160 --> 00:26:09,160
his day.
489
00:26:09,160 --> 00:26:12,480
But hey, sometimes you win and sometimes you lose, like tonight.
490
00:26:12,480 --> 00:26:15,800
Okay, we both lost, but that doesn't mean a couple of losers aren't entitled to
491
00:26:15,800 --> 00:26:17,120
a little fun, right?
492
00:26:17,120 --> 00:26:23,720
Kate kisses him, but he's unresponsive and she says, okay, loser, you win.
493
00:26:23,720 --> 00:26:26,200
Then we cut to cutting the cake.
494
00:26:26,200 --> 00:26:29,800
Jolly flops the piece of angel food cake on a plate for Nadine.
495
00:26:29,800 --> 00:26:32,520
At propos for an angel face, he says.
496
00:26:32,520 --> 00:26:37,240
He waxes nostalgic about meeting Queenie, though, who was also once a starving hitchhiking
497
00:26:37,240 --> 00:26:38,920
wannabe star like Nadine.
498
00:26:38,920 --> 00:26:43,400
Nadine asks if Jolly had ever put Queenie in one of his pictures.
499
00:26:43,400 --> 00:26:46,520
And Jolly says no, but he did was take care of her.
500
00:26:46,520 --> 00:26:50,040
Nadine says that Grace told her to be nice to him and maybe he'll put her in one of his
501
00:26:50,040 --> 00:26:51,040
pictures.
502
00:26:51,040 --> 00:26:54,640
And she tells him that Jolly can kiss her and stuff if he wants to.
503
00:26:54,640 --> 00:27:00,320
He puts his hand on her cheek and pushes in just as Eddie and Grace come into the kitchen.
504
00:27:00,320 --> 00:27:02,480
And then all heck breaks loose.
505
00:27:02,480 --> 00:27:07,000
Eddie attacks Jolly and Wilma who follow behind Grace and Eddie tries to stop Eddie.
506
00:27:07,000 --> 00:27:09,240
Then other people come in too.
507
00:27:09,240 --> 00:27:13,280
Eddie starts hurling insults and challenging everyone to a fight.
508
00:27:13,280 --> 00:27:15,240
Now Dale arrives with Queenie.
509
00:27:15,240 --> 00:27:18,360
Dale takes out Eddie as Queenie comforts Jolly on the floor.
510
00:27:18,360 --> 00:27:20,920
Once Eddie is knocked out, Grace starts attacking Dale.
511
00:27:20,920 --> 00:27:26,240
Till some guy pulls her off of him and Queenie leaves Jolly's side to go check on Dale's injuries.
512
00:27:26,240 --> 00:27:29,280
And then Jimmy takes over caring for Jolly.
513
00:27:29,280 --> 00:27:32,800
Once on his feet, Jolly tells Queenie to go get her rocks off with Dale if that's what
514
00:27:32,800 --> 00:27:34,280
she wants.
515
00:27:34,280 --> 00:27:36,280
She starts to leave but Jolly grabs Dale.
516
00:27:36,280 --> 00:27:38,800
I'll get you a son of a bitch he warns.
517
00:27:38,800 --> 00:27:42,840
And then Dale and Queenie leave as Jimmy holds Jolly back.
518
00:27:42,840 --> 00:27:44,560
So we haven't been given the invitation.
519
00:27:44,560 --> 00:27:47,120
Queenie and Dale go off to find a room where they can be alone.
520
00:27:47,120 --> 00:27:49,720
Everyone needs therapy more than sex at this party.
521
00:27:49,720 --> 00:27:52,160
Now we have our third Chinese lantern transition.
522
00:27:52,160 --> 00:27:57,800
And we're back in the ballroom where Kate is at the piano singing a torch song as Philip
523
00:27:57,800 --> 00:27:58,800
plays.
524
00:27:58,800 --> 00:28:01,160
The Sunday morning blues.
525
00:28:01,160 --> 00:28:05,880
So obviously we've crossed over the midnight barrier a while ago and the party looks kind
526
00:28:05,880 --> 00:28:06,880
of dead.
527
00:28:06,880 --> 00:28:11,640
While the song is going on, Jolly is sitting at Queen's vanity smelling her perfume.
528
00:28:11,640 --> 00:28:15,920
He goes back downstairs and walks to the ballroom stepping around the half-naked body is
529
00:28:15,920 --> 00:28:17,240
showing about the room.
530
00:28:17,240 --> 00:28:19,960
Happy Sunday morning to you, Kate tells Jolly.
531
00:28:19,960 --> 00:28:22,640
Instead of consoling him, she's trying to rile him up.
532
00:28:22,640 --> 00:28:26,040
She tells Jolly that he's old and Queenie is young.
533
00:28:26,040 --> 00:28:28,240
She probably fooled around before.
534
00:28:28,240 --> 00:28:34,040
Dale is number 679 on her list of lovers and Queenie will fool around again because women
535
00:28:34,040 --> 00:28:36,480
have needs too despite what men think.
536
00:28:36,480 --> 00:28:40,680
Last week the milkman, this week Dale, next week the bootleger.
537
00:28:40,680 --> 00:28:44,360
Ellie keeps yelling "Shut up" at her and finally she does.
538
00:28:44,360 --> 00:28:47,600
She says that she was just kidding and trying to make light of everything.
539
00:28:47,600 --> 00:28:50,680
And then Sam and Morris, the movie moguls, come by.
540
00:28:50,680 --> 00:28:54,840
Jolly reminds them they still have business to discuss about Brother Jasper.
541
00:28:54,840 --> 00:28:56,600
But they're headed over to Pick Fair.
542
00:28:56,600 --> 00:29:00,680
They see Kate and ask if she didn't come with Dale sword.
543
00:29:00,680 --> 00:29:03,080
She should go get him and the four of them can ride over together.
544
00:29:03,080 --> 00:29:06,000
Kate says Dale is busy and besides it's too late.
545
00:29:06,000 --> 00:29:08,160
But Sam and Morris say it's not too late.
546
00:29:08,160 --> 00:29:10,360
They stir breakfast at the Pick Fair.
547
00:29:10,360 --> 00:29:12,560
Jolly tries to talk shops some more.
548
00:29:12,560 --> 00:29:14,280
But they're more intent on finding Dale.
549
00:29:14,280 --> 00:29:17,560
They begin singing out "Where's Dale sword?"
550
00:29:17,560 --> 00:29:22,480
They decide he must be hol up somewhere upstairs and start yelling at Dale to come down.
551
00:29:22,480 --> 00:29:27,040
Jolly joins in yelling out that Dale should come down so he can see a real actor at work.
552
00:29:27,040 --> 00:29:30,760
Texas joined them just as Jolly starts telling the moguls about a new scene for Brother
553
00:29:30,760 --> 00:29:31,760
Jasper.
554
00:29:31,760 --> 00:29:33,600
It's going to be a new high point.
555
00:29:33,600 --> 00:29:36,920
Moguls aren't interested so Jolly starts calling out to Dale too.
556
00:29:36,920 --> 00:29:40,960
And upstairs, Dale finally hears the ruckus coming from below.
557
00:29:40,960 --> 00:29:44,240
He jumps out of bed, naked, and starts to get dressed.
558
00:29:44,240 --> 00:29:48,840
Back downstairs, Jolly is still describing the scene to Sam and Morris, the moguls.
559
00:29:48,840 --> 00:29:52,760
Not having a pipe handy, he grabs Texas gun to start waving that around.
560
00:29:52,760 --> 00:29:56,200
Jimmy appears in the stairs and asks Jolly to get in the gun.
561
00:29:56,200 --> 00:29:58,920
But he backs up the stairs when Jolly points the gun at him.
562
00:29:58,920 --> 00:30:00,800
Dale and Queenie appear on the balcony.
563
00:30:00,800 --> 00:30:03,760
Queenie is streaking at Jolly just put down the gun.
564
00:30:03,760 --> 00:30:05,920
And Jolly instead starts firing.
565
00:30:05,920 --> 00:30:08,000
He shoots Jimmy in the neck.
566
00:30:08,000 --> 00:30:11,080
Dale leaves it over the staircase and takes a bullet point blank.
567
00:30:11,080 --> 00:30:14,160
Even though Texas trying to wrestle the gun away, Jolly is still shooting and he hits
568
00:30:14,160 --> 00:30:16,960
Queenie up on the balcony and she goes down.
569
00:30:16,960 --> 00:30:20,200
The rampage ends after Jolly sees that he shot Queenie.
570
00:30:20,200 --> 00:30:23,160
Concerned, he climbs over Dale's dead body to go to her.
571
00:30:23,160 --> 00:30:27,200
Kate walks in and sees her cheating boyfriend
dead on the stairs and goes into his
572
00:30:27,200 --> 00:30:28,520
sterics.
573
00:30:28,520 --> 00:30:30,000
She's held back by the moguls.
574
00:30:30,000 --> 00:30:32,800
Jimmy looks like he can't believe that there's a hole in his neck.
575
00:30:32,800 --> 00:30:37,640
Get in comes in and gingerly stepping over Dale's body goes up the stairs to where Jolly
576
00:30:37,640 --> 00:30:38,880
is holding Queenie's body.
577
00:30:38,880 --> 00:30:42,360
But she sees it's a little early to take Queenie's place just yet.
578
00:30:42,360 --> 00:30:44,280
And now we're in the hospital.
579
00:30:44,280 --> 00:30:47,280
Jimmy is a patient with a bandage around his neck.
580
00:30:47,280 --> 00:30:48,440
He's been writing something.
581
00:30:48,440 --> 00:30:52,400
He folds up the paper and on the outside writes the wild party.
582
00:30:52,400 --> 00:30:55,560
And then we roll credits while a happy tune plays.
583
00:30:55,560 --> 00:30:57,080
And that's the end.
584
00:30:57,080 --> 00:31:08,400
Welcome back to the American International Podcast where we are talking about the wild party
585
00:31:08,400 --> 00:31:09,400
from 1975.
586
00:31:09,400 --> 00:31:14,240
As we briefly got into when we were going over the plot of the film, there are actually
587
00:31:14,240 --> 00:31:16,920
two distinct cuts for this movie.
588
00:31:16,920 --> 00:31:20,920
The longer director's cut is the one that's widely available today.
589
00:31:20,920 --> 00:31:27,560
But the one that we reviewed and went over was the AIP theatrical cut from 1975.
590
00:31:27,560 --> 00:31:29,920
It was kind of hard to find, wasn't it?
591
00:31:29,920 --> 00:31:32,080
We found it on an old VHS from Embassy.
592
00:31:32,080 --> 00:31:36,680
So it wasn't a great looking print that we watched, but we did see what appeared in theaters
593
00:31:36,680 --> 00:31:38,520
in 1975.
594
00:31:38,520 --> 00:31:43,120
The script was based on Joseph Monkeer Marches 1926 narrative poem, which was about
595
00:31:43,120 --> 00:31:47,240
a party given by a vaudeville comic in his walk up apartment in Greenwich Village.
596
00:31:47,240 --> 00:31:50,880
Walter Marks, a composer and lyricist, considered the poem to be a great basis
597
00:31:50,880 --> 00:31:52,440
for a musical film.
598
00:31:52,440 --> 00:31:55,280
And he decided to write the film adaptation.
599
00:31:55,280 --> 00:31:59,240
His script relocated the action to Hollywood at the end of the silent movie era.
600
00:31:59,240 --> 00:32:03,480
Marks took his project to Edgar Landsbury and Joseph Baroux, producers of Broadway musical
601
00:32:03,480 --> 00:32:07,160
such as Godspell, and they agreed to executive produce.
602
00:32:07,160 --> 00:32:11,000
Landsbury thought the poem was so wildly unconventional that it was only worth making with
603
00:32:11,000 --> 00:32:16,000
a budget of $200,000 as an experiment in which the risks were minimized.
604
00:32:16,000 --> 00:32:19,960
Walter Marks' brother Peter introduced Walter
to director James Ivory and producer
605
00:32:19,960 --> 00:32:23,080
Ismail Merchant, who had just made the movie "Savages."
606
00:32:23,080 --> 00:32:27,760
Landsbury and Baroux hired Merchant and Ivory, and at that point the film became a drama,
607
00:32:27,760 --> 00:32:28,760
not a musical.
608
00:32:28,760 --> 00:32:30,680
James Coco was cast in the lead.
609
00:32:30,680 --> 00:32:35,280
He's quoted as saying, "There isn't anything I don't get to do, and that's terribly appealing
610
00:32:35,280 --> 00:32:37,000
to any actor.
611
00:32:37,000 --> 00:32:39,920
It's full, fleshed out, and part of it is silent.
612
00:32:39,920 --> 00:32:42,120
I get to do love scenes with Raquel.
613
00:32:42,120 --> 00:32:44,320
I don't get that opportunity too often.
614
00:32:44,320 --> 00:32:46,240
I usually get the mule.
615
00:32:46,240 --> 00:32:47,680
She isn't what I expected.
616
00:32:47,680 --> 00:32:48,680
She's small.
617
00:32:48,680 --> 00:32:51,520
Very serious, energetic actor, and I love that.
618
00:32:51,520 --> 00:32:53,760
I have a marvelous relationship."
619
00:32:53,760 --> 00:32:54,760
In quote.
620
00:32:54,760 --> 00:32:58,960
Raquel Welch was cast as Queenie and the team secured financing from AIP.
621
00:32:58,960 --> 00:33:02,240
The budget for the Wild Party was $900,000.
622
00:33:02,240 --> 00:33:05,600
Arcoff is quoted as saying AIP usually made movies for the Woolworths line.
623
00:33:05,600 --> 00:33:09,440
But admitted with this film, the company was going to add a line and that it was a wildly
624
00:33:09,440 --> 00:33:10,440
artistic film.
625
00:33:10,440 --> 00:33:16,400
Filming started on April 29, 1974 at the Riverside Mission in in Riverside, California.
626
00:33:16,400 --> 00:33:18,240
Shooting took five weeks.
627
00:33:18,240 --> 00:33:22,880
Richard read an article in Life magazine stating that the 1875 hotel was about to undergo
628
00:33:22,880 --> 00:33:25,480
a $2 million renovation.
629
00:33:25,480 --> 00:33:28,800
And he decided to shoot the whole film on the premises before that could happen.
630
00:33:28,800 --> 00:33:32,920
Ivory said the inn was chosen because it's typical of the palatial, beautifully recoco
631
00:33:32,920 --> 00:33:34,840
architecture of the period.
632
00:33:34,840 --> 00:33:40,040
The inn built in 1876 as hosted 10 presidential visits, as well as notable guests like Susan
633
00:33:40,040 --> 00:33:44,840
B. Anthony, Albert Einstein, William Randolph Hearst, Joseph Pulitzer, and Helen Keller.
634
00:33:44,840 --> 00:33:48,200
Though James Coco liked working with Raquel Welch, he was basically a star.
635
00:33:48,200 --> 00:33:50,840
Basically, the only one on the set who felt that way.
636
00:33:50,840 --> 00:33:55,160
Ivory is quoted as saying, "Requel Welch was a very, very difficult actress to work with.
637
00:33:55,160 --> 00:33:56,760
She fired the cameraman.
638
00:33:56,760 --> 00:33:58,080
She fired Ismail.
639
00:33:58,080 --> 00:33:59,600
She would have fired Perry King.
640
00:33:59,600 --> 00:34:00,600
And it was our film.
641
00:34:00,600 --> 00:34:02,760
I did not enjoy making the wild party."
642
00:34:02,760 --> 00:34:07,040
Welch demanded that the cinematographer Walter Lassley be fired after he made an impertinent
643
00:34:07,040 --> 00:34:08,440
remark to her.
644
00:34:08,440 --> 00:34:13,000
She also wanted Ivory fired and replaced his director by her then boyfriend Ron Telsky,
645
00:34:13,000 --> 00:34:15,520
who was the costume designer for the film.
646
00:34:15,520 --> 00:34:19,000
The director's guild had to get involved and they were threatening letters sent to Welch
647
00:34:19,000 --> 00:34:22,440
and eventually everything settled down and filming resumed.
648
00:34:22,440 --> 00:34:26,600
Ivory later said, working with a large crowd of extras and May and June heat, reminded him
649
00:34:26,600 --> 00:34:29,920
of shooting those tempestuous movie stars in Bombay.
650
00:34:29,920 --> 00:34:33,680
Couriographer Patricia Birch was at the time one of the leading dance directors in the
651
00:34:33,680 --> 00:34:34,680
United States.
652
00:34:34,680 --> 00:34:38,880
She had four shows playing simultaneously on Broadway during the period that this movie
653
00:34:38,880 --> 00:34:39,880
was in production.
654
00:34:39,880 --> 00:34:44,200
In addition to Welch's Singapore Sally number, Birch staged eight other dances in which
655
00:34:44,200 --> 00:34:46,600
more than 100 people participated.
656
00:34:46,600 --> 00:34:50,280
And this included that solo dance from Don D'Altale, who played Jackie.
657
00:34:50,280 --> 00:34:53,280
The Natale was a former US ballroom dance champion.
658
00:34:53,280 --> 00:34:56,880
Although the film could be seen as drawing from the rape and murder scandal that dog comedian
659
00:34:56,880 --> 00:35:01,280
Fetty Arbuckle until he was found not guilty of all charges, Arbuckle's story was not an
660
00:35:01,280 --> 00:35:03,560
inspiration for the story of the wild party.
661
00:35:03,560 --> 00:35:07,920
However, James Cucko said in an interview that he researched Arbuckle's life as he prepared
662
00:35:07,920 --> 00:35:08,920
for this role.
663
00:35:08,920 --> 00:35:14,040
Now the reason there was a second cut of the film is because AIP test screen Ivory's
664
00:35:14,040 --> 00:35:18,640
cut in Santa Barbara and San Diego early in 1975.
665
00:35:18,640 --> 00:35:22,680
And both of those audiences hated the film, but for different reasons.
666
00:35:22,680 --> 00:35:27,400
The UC Santa Barbara students liked the orgy in the fight scenes, but the middle class audiences
667
00:35:27,400 --> 00:35:29,600
in San Diego hated those scenes.
668
00:35:29,600 --> 00:35:33,920
However, they loved Perry King's character and seeing Welch do a serious part.
669
00:35:33,920 --> 00:35:37,440
AIP didn't know how to handle the contradictory test results.
670
00:35:37,440 --> 00:35:39,920
And so they took the original cut and re-edited it.
671
00:35:39,920 --> 00:35:41,680
Ivory said they did more than recut it.
672
00:35:41,680 --> 00:35:44,720
They turned it upside down and they distributed two versions.
673
00:35:44,720 --> 00:35:47,000
I never knew which is being shown.
674
00:35:47,000 --> 00:35:50,160
It was talked within the company of showing one version in cities and the other in small
675
00:35:50,160 --> 00:35:53,720
towns, but it's not known if that's how the distribution actually worked.
676
00:35:53,720 --> 00:35:58,120
I think other countries got the director's cut too instead of the AIP cut.
677
00:35:58,120 --> 00:36:02,880
Ivory said that the main changes AIP affected were softening Cucko's character.
678
00:36:02,880 --> 00:36:05,960
It didn't remove a scene in which Jolly slapped Queenie.
679
00:36:05,960 --> 00:36:10,440
And they added discarded sex scenes and introduced flashbacks and flash forwards.
680
00:36:10,440 --> 00:36:14,000
Ivory wrote that quote, "Patch together remnants of the film.
681
00:36:14,000 --> 00:36:18,240
Proves once more that you cannot effectively re-edit a picture and change its character
682
00:36:18,240 --> 00:36:20,880
in order to save it."
683
00:36:20,880 --> 00:36:25,160
Landsbury, Peru, and Marks approved the edited version, but Rocco Welch is said to have
684
00:36:25,160 --> 00:36:26,160
hated it.
685
00:36:26,160 --> 00:36:30,400
AIP's press book encourages theater owners to work with local TV and radio stations to
686
00:36:30,400 --> 00:36:34,520
have a Rocco Welch look-alike contest and said they could have the look-alike comparison
687
00:36:34,520 --> 00:36:39,560
extend to as much of Ms. Welch as you team wise, whatever that means.
688
00:36:39,560 --> 00:36:42,240
He also suggested a James Cucko look-alike contest.
689
00:36:42,240 --> 00:36:45,000
As much of him as they deemed wise.
690
00:36:45,000 --> 00:36:49,840
Their last suggestion was a 20s music dance party in conjunction with local media, because
691
00:36:49,840 --> 00:36:53,320
everyone knows how big 20s music was in the 70s.
692
00:36:53,320 --> 00:36:58,520
Taglines for the wild party include Howdywood in the 20s, Jin, Sin, and a Night They're Still
693
00:36:58,520 --> 00:37:00,040
Whispering About.
694
00:37:00,040 --> 00:37:04,120
Rocco Welch sizzles in this scandal about one of the most famous comedians of the fabulous
695
00:37:04,120 --> 00:37:05,880
roaring 20s.
696
00:37:05,880 --> 00:37:07,760
Talk about wild.
697
00:37:07,760 --> 00:37:08,760
Talk about parties.
698
00:37:08,760 --> 00:37:11,880
Variety published a fairly positive review.
699
00:37:11,880 --> 00:37:16,480
Calling the film overly talky, but a magnificent showpiece for Coco's talents.
700
00:37:16,480 --> 00:37:21,480
He successfully covers a spectrum from silly comedy, warm humor, sober anger, maddening
701
00:37:21,480 --> 00:37:27,040
frustration, and drunken psychosis, holding her own as his mistress is Rocco Welch, registering
702
00:37:27,040 --> 00:37:28,720
very strongly.
703
00:37:28,720 --> 00:37:33,320
Charles Chaplin of the Los Angeles Times stated, "It isn't possible to know exactly what
704
00:37:33,320 --> 00:37:37,320
merchant ivory and scriptwriter Walter Marks had in mind for the wild party.
705
00:37:37,320 --> 00:37:41,440
It's too simple minded to be taken seriously, but too earnest to work as a piece of capy
706
00:37:41,440 --> 00:37:42,440
nostalgia."
707
00:37:42,440 --> 00:37:47,680
Jonathan Rosenbaum of the monthly film Bulletin stated, "It is difficult to imagine how even
708
00:37:47,680 --> 00:37:52,520
the longer versions of the film could overcome the formidable handicap of a miscast James
709
00:37:52,520 --> 00:37:57,760
Coco, an actor well suited to the broad overkill of recent premager, but quite inadequate
710
00:37:57,760 --> 00:38:01,840
for the emotional range and shading of a tragic comic silent star."
711
00:38:01,840 --> 00:38:06,240
Rosenbaum did go on to state though that the songs and musical numbers are particularly
712
00:38:06,240 --> 00:38:07,240
delightful.
713
00:38:07,240 --> 00:38:09,920
Other reviewers were more blatant in their dislike.
714
00:38:09,920 --> 00:38:14,300
Jean Siskel of the Chicago Tribune gave the film one star out of four and noted in a brief
715
00:38:14,300 --> 00:38:19,360
review that "collectors of trash movies might want to catch it while it played town."
716
00:38:19,360 --> 00:38:22,860
Gary Arnold of The Washington Post wrote that the film can be recommended with a fairly
717
00:38:22,860 --> 00:38:27,360
clear conscious to connoisseurs of bad movies, but anyone looking for a serious night's entertainment
718
00:38:27,360 --> 00:38:29,160
will have only himself to blame.
719
00:38:29,160 --> 00:38:31,560
The wild party was a financial flop.
720
00:38:31,560 --> 00:38:35,800
I rethought the film's main problem, apart from the re-editing, was that audiences could
721
00:38:35,800 --> 00:38:38,040
not identify with any of the characters.
722
00:38:38,040 --> 00:38:43,520
He said, "I think it's mixed style, part musical, part melodrama, part character piece would
723
00:38:43,520 --> 00:38:47,640
have gone down better if the audience could have entered more into those characters' lives.
724
00:38:47,640 --> 00:38:49,760
Isn't that a him problem?"
725
00:38:49,760 --> 00:38:54,040
After its 1975 release, other versions of the wild party varying in length be surfaced
726
00:38:54,040 --> 00:38:58,240
on VHS and DVD, as well as a director's cut 20 minutes longer, briefly released to
727
00:38:58,240 --> 00:39:01,880
French cinemas in 1976 and US cinemas in 1981.
728
00:39:01,880 --> 00:39:06,680
The wild party didn't premiere in New York City at all until 1981, as part of an eight-week
729
00:39:06,680 --> 00:39:09,160
merchant and ivory retrospective.
730
00:39:09,160 --> 00:39:12,800
That's showing was of the original cut of the film, not A.I.P.'s chop job.
731
00:39:12,800 --> 00:39:17,520
Vincent Canvey of The New York Times wrote in his review of the film, "It would be difficult
732
00:39:17,520 --> 00:39:21,200
to imagine a more unlikely backer for the wild party than A.I.P.
733
00:39:21,200 --> 00:39:25,480
The company that made its fortunes on the beach party pictures, Roger Coramans, Edgar
734
00:39:25,480 --> 00:39:31,200
L. N. Poe horror films, and such oddball exploitation items as "I was a teenage Frankenstein."
735
00:39:31,200 --> 00:39:35,200
However, Canvey could not bring himself to recommend even the director's cut of the film.
736
00:39:35,200 --> 00:39:38,040
His court is saying, "The script is, I think, really terrible.
737
00:39:38,040 --> 00:39:42,040
I never do Mr. Ivory, Mr. Coco, Ms. Welch, and the others discover the proper way to play
738
00:39:42,040 --> 00:39:44,320
it, probably because it's unplayable."
739
00:39:44,320 --> 00:39:49,280
Mr. Coco and Ms. Welch aren't bad, but there's no material for them to act or even to recite.
740
00:39:49,280 --> 00:39:52,000
It's not a question of our not understanding the characters.
741
00:39:52,000 --> 00:39:54,520
We've seen them before and understand them all too well.
742
00:39:54,520 --> 00:39:59,200
The wild party was rated R the United States, but it was banned in the United Kingdom until
743
00:39:59,200 --> 00:40:04,160
1982, when the British Film Council gave it an 18 rating.
744
00:40:04,160 --> 00:40:08,920
The original narrative poem, The Wild Party, became the inspiration for an off-brought-way
745
00:40:08,920 --> 00:40:10,800
musical in 1999.
746
00:40:10,800 --> 00:40:13,520
The book "Lyrics and Music" by Andrew Lippa.
747
00:40:13,520 --> 00:40:18,720
In 2000, a musical by the same name from the same source material was staged on Broadway,
748
00:40:18,720 --> 00:40:22,880
with a book by Michael John LeChouza and George C. Wolf and Music and lyrics by LeChouza.
749
00:40:22,880 --> 00:40:24,760
All right, Jeff.
750
00:40:24,760 --> 00:40:28,320
A lot of people had a lot of opinions about this movie, but it's time for us to give
751
00:40:28,320 --> 00:40:29,320
ours.
752
00:40:29,320 --> 00:40:31,040
What did you think of The Wild Party?
753
00:40:31,040 --> 00:40:34,080
Well, we watched both cuts in preparation for this episode.
754
00:40:34,080 --> 00:40:38,720
The first one we watched was The Longer Directors Cut, but the one that we went over when we
755
00:40:38,720 --> 00:40:42,120
did the Plastinopsis was the shorter version.
756
00:40:42,120 --> 00:40:44,120
And I have to say that The Longer Cut is superior.
757
00:40:44,120 --> 00:40:45,120
I agree.
758
00:40:45,120 --> 00:40:47,640
There's a lot of backstory missing from The shorter cut.
759
00:40:47,640 --> 00:40:50,400
And it's framed so oddly.
760
00:40:50,400 --> 00:40:55,200
The shorter cut begins with the party already in progress, with that fourth wall breaking
761
00:40:55,200 --> 00:41:01,160
scene, where Jimmy is introducing characters that aren't the main focus of the movie for
762
00:41:01,160 --> 00:41:03,160
some reason.
763
00:41:03,160 --> 00:41:08,280
Whereas in the original cut, we see him in the hospital where he's starting to recite
764
00:41:08,280 --> 00:41:14,720
the poem The Wild Party and introducing the subject sort of organically.
765
00:41:14,720 --> 00:41:17,200
It leads us to wonder, well, why is he in the hospital?
766
00:41:17,200 --> 00:41:20,080
What happened at this wild party?
767
00:41:20,080 --> 00:41:22,200
And that's missing from the AIP cut.
768
00:41:22,200 --> 00:41:27,240
Right, I understand why when AIP recut this, they chose that as the beginning.
769
00:41:27,240 --> 00:41:30,000
Because in the longer version, that comes in the middle when he suddenly breaks the fourth
770
00:41:30,000 --> 00:41:32,120
wall and he's introducing these characters.
771
00:41:32,120 --> 00:41:36,480
And it doesn't matter that he's introducing secondary characters in the middle of the film,
772
00:41:36,480 --> 00:41:38,600
but it's open the film that way.
773
00:41:38,600 --> 00:41:42,000
It makes you think these people are more important than they actually are.
774
00:41:42,000 --> 00:41:43,000
Right.
775
00:41:43,000 --> 00:41:46,560
They're not even secondary characters, they're tertiary characters.
776
00:41:46,560 --> 00:41:51,680
But what's interesting is that in The Longer Cut, when he suddenly breaks the fourth wall,
777
00:41:51,680 --> 00:41:55,680
it's just kind of jarring because there's been nothing to establish this before that.
778
00:41:55,680 --> 00:41:59,960
He's not talking to us in the beginning in the hospital, we're hearing his thoughts as
779
00:41:59,960 --> 00:42:01,360
the narrator.
780
00:42:01,360 --> 00:42:04,480
It was a very strange choice to do that.
781
00:42:04,480 --> 00:42:05,600
And not when I agree with.
782
00:42:05,600 --> 00:42:11,440
I did think that the longer version, just over 20 minutes longer, did drag a bit.
783
00:42:11,440 --> 00:42:13,160
This party seemed to less forever.
784
00:42:13,160 --> 00:42:18,000
But I think that a lot of the stuff was missing was actually important to the story.
785
00:42:18,000 --> 00:42:22,800
And Kate is talking to James about his feelings for Queenie toward the end of the film.
786
00:42:22,800 --> 00:42:26,240
In the shorter version, there's nothing to establish this.
787
00:42:26,240 --> 00:42:30,600
All the scenes of dialogue between Queenie and James were cut except for when he stopped
788
00:42:30,600 --> 00:42:33,960
her before she goes on to the garden with Dale.
789
00:42:33,960 --> 00:42:35,800
And that just kind of comes out of nowhere.
790
00:42:35,800 --> 00:42:36,800
Right.
791
00:42:36,800 --> 00:42:37,800
We see him looking.
792
00:42:37,800 --> 00:42:40,040
We don't even know if he's looking at her.
793
00:42:40,040 --> 00:42:44,400
He's staring up at Jolly and Queenie at sort of the beginning of the movie.
794
00:42:44,400 --> 00:42:49,120
And he does have a love strike expression on his face, but we never see that he's connecting
795
00:42:49,120 --> 00:42:50,760
with her or trying to connect with her.
796
00:42:50,760 --> 00:42:52,520
There's no context for that.
797
00:42:52,520 --> 00:42:56,240
And in the scene that I mentioned, when he stops her, he might interpret that as him being
798
00:42:56,240 --> 00:43:00,040
more defensive of Jolly's feelings because we've established that relationship with Jolly
799
00:43:00,040 --> 00:43:02,600
when he was watching that edit of the film earlier.
800
00:43:02,600 --> 00:43:03,600
Right.
801
00:43:03,600 --> 00:43:08,000
He seems to be Jolly's right-hand man and doesn't have any kind of relationship with Queenie
802
00:43:08,000 --> 00:43:09,960
at all as far as we know.
803
00:43:09,960 --> 00:43:15,560
But another scene that was cut between James and Queenie is when she's talking to him and
804
00:43:15,560 --> 00:43:19,040
he notices the bruise on her face when Jolly hit her and all that is missing from this
805
00:43:19,040 --> 00:43:20,040
film.
806
00:43:20,040 --> 00:43:21,040
Right.
807
00:43:21,040 --> 00:43:25,240
It gives him a reason to not want to see her with Jolly, but also not want to see her with
808
00:43:25,240 --> 00:43:26,560
anyone else.
809
00:43:26,560 --> 00:43:28,480
And we don't get that at all.
810
00:43:28,480 --> 00:43:32,080
And missing all that when he stops her just seems on a place.
811
00:43:32,080 --> 00:43:33,760
They also change things.
812
00:43:33,760 --> 00:43:35,600
So things happen out of order.
813
00:43:35,600 --> 00:43:40,840
In the beginning, we see everyone's getting ready, everyone's printing and dressing first
814
00:43:40,840 --> 00:43:43,200
for the day and then later for the party.
815
00:43:43,200 --> 00:43:46,080
But they just kind of cut that in and out of the movie now.
816
00:43:46,080 --> 00:43:51,800
It's so weird because in the long cut, Jolly's getting fitted for a suit.
817
00:43:51,800 --> 00:43:57,320
Queenie does her dance to her theme song and then Jolly's still getting fitted for a suit.
818
00:43:57,320 --> 00:44:01,400
But in the sort version, he goes out and it goes back to be fitted for a suit again.
819
00:44:01,400 --> 00:44:02,400
Right.
820
00:44:02,400 --> 00:44:03,560
And it's the same scene.
821
00:44:03,560 --> 00:44:08,120
And she gets dressed twice or she gets dressed to talk to Jolly and then she gets dressed
822
00:44:08,120 --> 00:44:09,120
for the party.
823
00:44:09,120 --> 00:44:10,920
It's very strange.
824
00:44:10,920 --> 00:44:15,400
I don't think AIP was super careful about how they put this together.
825
00:44:15,400 --> 00:44:17,560
We don't know who re-edited it.
826
00:44:17,560 --> 00:44:24,160
But it seems like maybe by committee, without a lot of thought to the artistic merits of what
827
00:44:24,160 --> 00:44:25,160
was filmed.
828
00:44:25,160 --> 00:44:30,240
And I didn't A.B. compare this, but also the orgy scene seemed to be a lot longer in the
829
00:44:30,240 --> 00:44:31,240
longer cut.
830
00:44:31,240 --> 00:44:37,720
Well, we did just
say that they added more sex scenes that had initially been deleted from
831
00:44:37,720 --> 00:44:39,760
the director's cut even.
832
00:44:39,760 --> 00:44:42,360
So they found that footage and reinserted it.
833
00:44:42,360 --> 00:44:47,360
And even though they're shortening the film, they reused the clip of the party that we saw
834
00:44:47,360 --> 00:44:48,840
at the beginning of the movie.
835
00:44:48,840 --> 00:44:52,320
We came back and saw it again, but without the fourth wall break that time.
836
00:44:52,320 --> 00:44:57,720
Yeah, I think that fourth wall break might be the only thing that was not improvement
837
00:44:57,720 --> 00:44:59,400
in longer version.
838
00:44:59,400 --> 00:45:03,720
They could have had that as a voiceover, or he was introducing the characters.
839
00:45:03,720 --> 00:45:07,960
And then we would know who's who as they arrived.
840
00:45:07,960 --> 00:45:11,200
I think that would have been a lot more effective had they gone that route.
841
00:45:11,200 --> 00:45:16,640
Finding out who's who before the movie even starts gives us a chance to forget that grace
842
00:45:16,640 --> 00:45:20,400
is grace and Madeline is Madeline and they have different roles in this film because
843
00:45:20,400 --> 00:45:21,400
they kind of look alike.
844
00:45:21,400 --> 00:45:26,080
And when they come back, we kind of had to ask ourselves which ones that again?
845
00:45:26,080 --> 00:45:29,840
I will give it the compliment that the period costumes are really good in this.
846
00:45:29,840 --> 00:45:33,160
The men are just wearing suits and tuxedos because men's fashion hasn't changed much
847
00:45:33,160 --> 00:45:35,320
in the last 150 years or so.
848
00:45:35,320 --> 00:45:39,320
Ralph Lauren did all the costuming for the men, but they obviously put a lot of effort
849
00:45:39,320 --> 00:45:40,800
into the women's clothes.
850
00:45:40,800 --> 00:45:43,880
And it was Raquel's boyfriend, so she looked great.
851
00:45:43,880 --> 00:45:47,680
And I'm going to commend them on the hairstyles too because we haven't looked at these yet.
852
00:45:47,680 --> 00:45:52,320
There's a few gangster movies that AIP produced in the late 60s, early 70s, where these
853
00:45:52,320 --> 00:45:55,840
characters in the 1930s have kind of bushy hairdos that would be very out of place
854
00:45:55,840 --> 00:45:58,280
and probably get them left out of the bank they were trying to wrong.
855
00:45:58,280 --> 00:46:00,320
Had they so enough with that hairstyle?
856
00:46:00,320 --> 00:46:02,200
Some kind of hippie from the future.
857
00:46:02,200 --> 00:46:04,960
I love Raquel's crimped Marcel Waves.
858
00:46:04,960 --> 00:46:07,240
I think she looked really good.
859
00:46:07,240 --> 00:46:13,600
And I think there aren't too many other notable hairstyles in the movie, but Kate looked good
860
00:46:13,600 --> 00:46:14,680
too.
861
00:46:14,680 --> 00:46:18,920
She obviously was the planer Jane to Raquel's beautiful queenie.
862
00:46:18,920 --> 00:46:23,160
I thought she was pretty, but they made her a little doubtier just to compare to Raquel
863
00:46:23,160 --> 00:46:25,960
Welch as if anyone could.
864
00:46:25,960 --> 00:46:26,960
What about the acting?
865
00:46:26,960 --> 00:46:28,960
I don't think there's any bad acting here.
866
00:46:28,960 --> 00:46:32,320
I think that James Coco does a good job despite what the critics thought.
867
00:46:32,320 --> 00:46:37,320
I thought that he was pretty well cast as the fatty, arbuckle replacement.
868
00:46:37,320 --> 00:46:40,000
I thought he was really good too.
869
00:46:40,000 --> 00:46:42,600
And I found out this is his only leading role.
870
00:46:42,600 --> 00:46:45,160
He had never been the leading man before.
871
00:46:45,160 --> 00:46:50,080
I think he did a great job when he did his little Oscar speech on the balcony, talking
872
00:46:50,080 --> 00:46:53,920
about being a self-made man and then thinking about Queenie.
873
00:46:53,920 --> 00:46:58,560
It was a little hammy, but I could see that transition happening in him, the anger, the
874
00:46:58,560 --> 00:47:01,720
sadness, the nostalgia, washing over his face.
875
00:47:01,720 --> 00:47:03,000
I thought he did a really good job.
876
00:47:03,000 --> 00:47:06,040
I may even hammy, but he did a better rendition of it than I did.
877
00:47:06,040 --> 00:47:08,080
Oh, yeah.
878
00:47:08,080 --> 00:47:09,400
No offense.
879
00:47:09,400 --> 00:47:13,360
And I'd loved David Duke's as Jimmy in the original cut.
880
00:47:13,360 --> 00:47:19,800
We didn't get to see as much of his acting chops in the AIP cut because they cut out some
881
00:47:19,800 --> 00:47:22,080
really important scenes.
882
00:47:22,080 --> 00:47:23,760
But I liked him a lot in this movie.
883
00:47:23,760 --> 00:47:25,280
What about Raquel?
884
00:47:25,280 --> 00:47:30,440
She kind of gets dogged as being just a pretty face in some of these reviews in general.
885
00:47:30,440 --> 00:47:34,320
Oh, I think Raquel did a respectable job too.
886
00:47:34,320 --> 00:47:38,880
This isn't something she's going to be remembered for, obviously, because the Well Party isn't
887
00:47:38,880 --> 00:47:39,880
a very good film.
888
00:47:39,880 --> 00:47:43,240
She's always going to be the girl in the Furby Keeney.
889
00:47:43,240 --> 00:47:48,440
But The Well Party seems to be a good place to showcase her chops of what she can actually
890
00:47:48,440 --> 00:47:49,440
do.
891
00:47:49,440 --> 00:47:55,160
I can't see a much better range, particularly in loggercut, which we didn't really discuss.
892
00:47:55,160 --> 00:47:58,240
No, unfortunately, we couldn't.
893
00:47:58,240 --> 00:48:02,120
But if you do watch that, and that's probably the one you will find, you'll see what we're
894
00:48:02,120 --> 00:48:03,120
talking about.
895
00:48:03,120 --> 00:48:06,280
She has to make Jolly happy.
896
00:48:06,280 --> 00:48:08,080
She has to make herself happy.
897
00:48:08,080 --> 00:48:12,000
These
two goals are contradictory, and it's not possible to do both.
898
00:48:12,000 --> 00:48:18,000
So we do see her being torn between what she wants and what her meal ticket wants.
899
00:48:18,000 --> 00:48:21,800
And she has to sing Singaparsali and do that soft shoe.
900
00:48:21,800 --> 00:48:23,800
And she did a pretty good job singing.
901
00:48:23,800 --> 00:48:28,480
It's not a great song, and it goes on way too long, but she did an all right job.
902
00:48:28,480 --> 00:48:33,320
She did the extended dance solo in the middle of it to kind of pad it out.
903
00:48:33,320 --> 00:48:35,160
It took up a lot of screen time.
904
00:48:35,160 --> 00:48:40,080
I think the song itself is fine, but we came back to it twice after it began.
905
00:48:40,080 --> 00:48:42,280
The music kind of got on my nerves in this movie.
906
00:48:42,280 --> 00:48:43,480
I don't know about you.
907
00:48:43,480 --> 00:48:48,160
Well, there's no really great songs here to speak of.
908
00:48:48,160 --> 00:48:50,600
I couldn't find a listing of what the songs were up.
909
00:48:50,600 --> 00:48:54,800
When I said the titles, I'm just guessing based upon what was repeated the most often.
910
00:48:54,800 --> 00:48:58,480
I read a review that said they couldn't believe that no soundtrack was released for this
911
00:48:58,480 --> 00:48:59,480
movie.
912
00:48:59,480 --> 00:49:00,480
But maybe--
913
00:49:00,480 --> 00:49:01,480
Well, who would have bought that?
914
00:49:01,480 --> 00:49:02,480
Maybe.
915
00:49:02,480 --> 00:49:03,480
I don't think it would have done very good.
916
00:49:03,480 --> 00:49:04,480
1975.
917
00:49:04,480 --> 00:49:05,480
No.
918
00:49:05,480 --> 00:49:07,480
That's when we were interested in the '50s.
919
00:49:07,480 --> 00:49:09,800
No, happy days was the number one show.
920
00:49:09,800 --> 00:49:10,800
Right.
921
00:49:10,800 --> 00:49:13,840
But the movie "The Sting" brought us the song "The Entertainer."
922
00:49:13,840 --> 00:49:17,640
I had to play that in band class in elementary school.
923
00:49:17,640 --> 00:49:21,960
And so it maybe would have done good, but I don't think the songs would have carried them
924
00:49:21,960 --> 00:49:22,960
there.
925
00:49:22,960 --> 00:49:24,360
They're kind of repetitive.
926
00:49:24,360 --> 00:49:25,840
They all basically sound the same.
927
00:49:25,840 --> 00:49:28,040
They're just different lyrics.
928
00:49:28,040 --> 00:49:31,600
And they're all way too upbeat for this movie, which is a tragedy.
929
00:49:31,600 --> 00:49:34,720
And you're nothing bad about feeling good.
930
00:49:34,720 --> 00:49:37,440
That might have been the only scene appropriate song.
931
00:49:37,440 --> 00:49:38,840
The Herbert Hoover drag.
932
00:49:38,840 --> 00:49:42,560
Well, nobody knows who Herbert Hoover is anymore.
933
00:49:42,560 --> 00:49:45,480
The ending to this cut was so abrupt, too.
934
00:49:45,480 --> 00:49:49,920
All we do is see him in the hospital writing the words "The Wild Party" on folded up paper
935
00:49:49,920 --> 00:49:51,880
and immediately it's over.
936
00:49:51,880 --> 00:49:52,880
Right.
937
00:49:52,880 --> 00:49:57,800
We don't even have him restating the poem that we have at the open of the longer cut.
938
00:49:57,800 --> 00:50:01,440
Yeah, I don't know why they didn't include at least part of that.
939
00:50:01,440 --> 00:50:05,240
Maybe the end of the poem, which we probably never heard at all.
940
00:50:05,240 --> 00:50:07,680
But then again, this movie is only partially based on that.
941
00:50:07,680 --> 00:50:08,680
Yeah, maybe the ending.
942
00:50:08,680 --> 00:50:09,680
I read the poem.
943
00:50:09,680 --> 00:50:13,360
Maybe the ending didn't match the story at all, so that wouldn't have worked.
944
00:50:13,360 --> 00:50:17,880
I wasn't mad at the orgy scenes, but they just went on a little long.
945
00:50:17,880 --> 00:50:21,520
I was kind of relieved to see the orgy scenes because this party didn't seem too wild up
946
00:50:21,520 --> 00:50:22,520
until that point.
947
00:50:22,520 --> 00:50:23,520
Oh, yeah.
948
00:50:23,520 --> 00:50:24,520
That's what I was going to mention.
949
00:50:24,520 --> 00:50:27,240
This is one of the least wild parties.
950
00:50:27,240 --> 00:50:29,440
I mean, that's the title.
951
00:50:29,440 --> 00:50:35,200
This party should have been slamming with loud music and tons of dancing and drugs and
952
00:50:35,200 --> 00:50:36,200
drinking.
953
00:50:36,200 --> 00:50:41,560
It was just people going off into little groups and having sex or talking or fighting or
954
00:50:41,560 --> 00:50:42,560
whatever.
955
00:50:42,560 --> 00:50:44,800
There was hardly any party unity.
956
00:50:44,800 --> 00:50:49,040
I'm sure it was much more happening party at the pick fair.
957
00:50:49,040 --> 00:50:51,320
You should have gone there instead.
958
00:50:51,320 --> 00:50:52,520
That would have been the better movie.
959
00:50:52,520 --> 00:50:54,040
Well, we'll write that one.
960
00:50:54,040 --> 00:50:58,920
Well, now that we've summed up our feelings about this party, let's do that again, but
961
00:50:58,920 --> 00:50:59,920
with a rating this time.
962
00:50:59,920 --> 00:51:00,920
It is awesome.
963
00:51:00,920 --> 00:51:03,360
Hi, it's intermediate and P is pathetic.
964
00:51:03,360 --> 00:51:04,360
What do you think, Jeff?
965
00:51:04,360 --> 00:51:07,560
Well, as we mentioned, the original logger cut tested poorly.
966
00:51:07,560 --> 00:51:11,080
So AIP took it upon themselves to re-edit it.
967
00:51:11,080 --> 00:51:15,840
And I can understand why it tested poorly because it's just not really a good movie.
968
00:51:15,840 --> 00:51:20,320
If I was rating it on a five point scale, the longer cut would probably get two stars and
969
00:51:20,320 --> 00:51:21,520
then I'd run it up to an eye.
970
00:51:21,520 --> 00:51:24,680
But the shorter version isn't even as good as the longer cut.
971
00:51:24,680 --> 00:51:29,360
So I would have to give that one a P, which I
hate to do because as much as I dislike
972
00:51:29,360 --> 00:51:33,280
the wild party, I'd really enjoy talking about this one.
973
00:51:33,280 --> 00:51:37,200
It doesn't make me angry like some of the films that I've previously designated a P rating
974
00:51:37,200 --> 00:51:38,800
too.
975
00:51:38,800 --> 00:51:40,320
But I'm going to have to stand by that.
976
00:51:40,320 --> 00:51:44,200
And for me, the wild party is a P.
977
00:51:44,200 --> 00:51:49,880
Well, I agree with you that the longer cut is an improvement over the shorter cut.
978
00:51:49,880 --> 00:51:54,720
But when I was deciding what rating to give this, I was thinking more of the things that
979
00:51:54,720 --> 00:52:01,840
I did like about the movie, the acting, the style, the story, such as it was, at least
980
00:52:01,840 --> 00:52:04,280
the parts that worked for me.
981
00:52:04,280 --> 00:52:09,280
And I decided that overall I was going to give it an eye for intermediate because it had
982
00:52:09,280 --> 00:52:11,600
enough good to outweigh the bad.
983
00:52:11,600 --> 00:52:14,160
The bad parts of it were it was boring.
984
00:52:14,160 --> 00:52:17,920
The AIP cut was nonsensical.
985
00:52:17,920 --> 00:52:20,760
A lot of scenes were left out that should have been left in.
986
00:52:20,760 --> 00:52:23,440
But I did like James Coco's performance.
987
00:52:23,440 --> 00:52:25,640
I did like being in the 1929 milieu.
988
00:52:25,640 --> 00:52:27,520
I thought it was an interesting idea.
989
00:52:27,520 --> 00:52:33,720
This silent movie actor is trying to restart his career with this very important party gone
990
00:52:33,720 --> 00:52:35,280
terribly wrong.
991
00:52:35,280 --> 00:52:38,960
I wish that the ending would have been more fleshed out what happens after.
992
00:52:38,960 --> 00:52:41,840
But overall, I didn't hate it either.
993
00:52:41,840 --> 00:52:45,040
And usually if I don't hate a movie, I don't give it a P.
994
00:52:45,040 --> 00:52:46,800
And that's the same for this movie.
995
00:52:46,800 --> 00:52:48,200
I'm giving it an eye.
996
00:52:48,200 --> 00:52:49,920
Well, you're right.
997
00:52:49,920 --> 00:52:51,280
The elements are all there.
998
00:52:51,280 --> 00:52:55,320
So this should have been a better film than it ended up being.
999
00:52:55,320 --> 00:52:56,680
It's got a good aesthetic.
1000
00:52:56,680 --> 00:53:00,760
I like the idea of a taking place during the advent of talkies and that being an element.
1001
00:53:00,760 --> 00:53:03,480
The film singing in the rain is all about that era.
1002
00:53:03,480 --> 00:53:04,760
And I love that one.
1003
00:53:04,760 --> 00:53:08,760
But I'm not going to change my rating because despite all that, this movie just isn't what
1004
00:53:08,760 --> 00:53:09,760
it should be.
1005
00:53:09,760 --> 00:53:11,160
So I'm sticking with the poor rating.
1006
00:53:11,160 --> 00:53:12,720
I don't blame you.
1007
00:53:12,720 --> 00:53:14,480
It was a toss up for me.
1008
00:53:14,480 --> 00:53:18,720
I changed my mind yesterday on what I was going to give it after we watched it the second
1009
00:53:18,720 --> 00:53:19,720
time.
1010
00:53:19,720 --> 00:53:22,480
It just had something in it that I did like.
1011
00:53:22,480 --> 00:53:33,960
And movies that have nothing in it.
1012
00:53:33,960 --> 00:53:35,960
I give a P2.
1013
00:53:35,960 --> 00:53:38,960
I can one summer love that just annoying the heck out of me.
1014
00:53:38,960 --> 00:53:40,960
But this one didn't do that.
1015
00:53:40,960 --> 00:53:42,960
Well, that's it for the wild party.
1016
00:53:42,960 --> 00:53:46,960
You don't got to go home, but you can't stay here for the American International Podcast.
1017
00:53:46,960 --> 00:53:47,960
I'm Cheryl Lightfoot.
1018
00:53:47,960 --> 00:53:48,960
And I'm Jeff Markin.
1019
00:53:48,960 --> 00:53:49,960
And we'll meet you at the drive-in.
1020
00:53:49,960 --> 00:53:55,520
Follow the American International Podcast on Instagram and Letterboxd AIP_Pod and on Facebook at facebook.com/American International Podcast
1021
00:53:55,520 --> 00:53:59,000
The American International Podcast is produced and edited by Jeff Markin.
1022
00:53:59,000 --> 00:54:02,120
A man whose mind is distorted by hatred.
1023
00:54:02,120 --> 00:54:03,120
And Cheryl Lightfoot.
1024
00:54:03,120 --> 00:54:15,440
A girl hungry for too many things.
1025
00:54:15,440 --> 00:54:19,400
The American International Podcast is part of the Pop Culture Entertainment Network.
1026
00:54:19,400 --> 00:54:29,400
[MUSIC]