Continuing the debate concerning what falls into the film noir genre/style, I failed to see the noir connection in 1961’s Something Wild. A dark theme, yes; centering around a crime, sure; a foreboding tone, definitely. I plainly admit I am no expert, but in my mind the story must involve sneaky double-crossing and some distance from reality and rational thinking. This film involves the tragic results of a rape.
Don’t get me wrong, the film is visually stunning and the method actors are incredible. Every shot is carefully constructed, and the near lack of dialogue forces the actors to earn each emotion. Film professor Foster Hirsch claims this film broke the American independent film movement. I loved that he invited the audience to “rise to the challenge of the film.” So few films invite such a dare.
With expertly created titles over New York streets by Psycho’s Saul Bass and a fantastic score by (my favorite) Aaron Copland, the stage is set for greatness [Note: Carroll Baker so respected Copland’s musical contribution despite the meager budget, that she paid him straight from her Mister Moses paycheck]. Baker is devastating as the young girl shown initially with a skip in her step, who is forever altered by the attack that she shares with no one. She wanders every borough of the city, feeling swallowed by strangers but unable to connect. After escaping her self-absorbed mother, she finds herself in another horrific situation with abductor Ralph Meeker. The film oozes with claustrophobic images and anxiety, a certain influence of director Jack Garfein’s time in Auschwitz.
At the screening, Foster Hirsch interviewed Carroll Baker, who found it tough to make it through the viewing as the film is filled with so much suffering. The producing company was Prometheus Productions, and as this film helped to create a dark spot on many resumes, they joked that all involved were sent straight back to the underworld.
The part of the film that I and much of the audience had trouble accepting was the character’s return to her abductor. Though Baker and Hirsch defend this as part of a healing process for both characters, I have a very tough time accepting that outcome. Both are emotionally damaged and need sympathetic comfort, but his mental processes seem far more limited and ingrained than her fresh scars. I’m not one that needs films tied up in neat packages, I just felt the ending to be hard to swallow.