An offbeat, oddly moving film in which Carroll Baker plays a young victim of rape. Although the crime goes unnamed in this 1961 movie, the pain and anguish suffered by Baker's character, Mary Ann, are candidly as well as sensitively handled. And while the film can only hint at Mary Ann's thoughts (unlike the book on which it was based), Baker gives a touching performance as the victim who tries to deny the crime by erasing all physical traces of it, and then seeking to lose herself in the jungle of New York City, only to find herself trapped in the apartment of a supposed Good Samaritan played by Ralph Meeker. The film's second half is weakened by the sketchiness of the characters' motivations, but the actors help to fill in the gaps. Legendary American composer Aaron Copland has added a grand (perhaps too grand) musical score; Eugen Schüfftan's crisp black & white cinematography and the extensive use of New York City locations add to this drama. Directed by Jack Garfein (Baker's then-husband), who co-wrote the script with Alex Karmel, author of the 1958 novel "Mary Ann."
59 Reviews
Wild emotions in quiet, beguiling art film
moonspinner5518 January 2001
Student traumatized by a rape is saved from suicide by a lonely mechanic, who feels she may be his last chance for happiness. Beguiling art film missed cult status by that much. Director Jack Garfien, who also co-wrote the screenplay with Alex Karmel from Karmel's novel "Mary Ann", and his wife, actress Carroll Baker, put everything on the line for this production, but it didn't connect with audiences at the time. It looks good today, however, and has an unusual, unnerving, voyeuristic quality. Baker and Ralph Meeker have intriguing chemistry, though the premise--that the mechanic keeps the girl like a wounded pet in his little hovel--is often creepy instead of romantic (although I'm not sure of the actual intention here). Incredible jazz score by Aaron Copland; striking black-and-white cinematography from Eugen Shuftan. A mixed bag, mostly effective. **1/2 from ****
A Dark Drama About Despair And Love
atlasmb15 November 2015
Written and directed by Jack Garfein, "Something Wild" is a gray-toned contemplation of the relationship between need and love. I think it is fair to say that some viewers will be disturbed by the story, which is about a young woman, Mary Ann (Carroll Baker, wife of the director), victimized and despairing, who meets a young man, Mike (Ralph Meeker), whose agenda is unclear.
The pathway from despair to hope, or false hope, is examined by this film in a dramatic and unconventional way. Contributing to the tone of the film are the B&W photography and the score by Aaron Copland.
The acting is terrific. Baker's and Meeker's characters may live in your imagination after the end credits. New York City plays its role as the vast backdrop to this dark tale.
One final note: Though they are only connected by the riveting performances of Ms. Baker, if you like this film, you may like "Baby Doll"--another distinctive and artistically risky film.
The pathway from despair to hope, or false hope, is examined by this film in a dramatic and unconventional way. Contributing to the tone of the film are the B&W photography and the score by Aaron Copland.
The acting is terrific. Baker's and Meeker's characters may live in your imagination after the end credits. New York City plays its role as the vast backdrop to this dark tale.
One final note: Though they are only connected by the riveting performances of Ms. Baker, if you like this film, you may like "Baby Doll"--another distinctive and artistically risky film.
I can't get this film out of my mind.
junekat4 February 2003
Believe it or not, my mother took me to the drive in to see this movie with her in the early 60's. At the time the drive-in was the place to go to cool off during family arguments or in times of extreme boredom. I was only about 10 at the time, but now 40 years later I still remember this film, and researched IMDB to find it again. I have not seen a recent copy, and understand that it is not available for purchase, but I think it would be a fine addition to classic black and white film history, so I hope it is re-released on video or DVD. Even as a young girl I was haunted by Carole Baker's character, not understanding exactly what had happened to her, but realizing that the love she developed with Ralph Meeker was somehow sad, but sweet and deeply emotional at the same time. I remember how desolate the character of Ralph Meeker was, and his apartment reflected this barren soul. They were two people who hurt desperately, and could only relieve their pain by coming together and sharing their emotionally tortured souls. I recommend you watch this movie if you get a chance.
odd, interesting
blanche-216 July 2015
Warning: Spoilers
Told from a European perspective, Something Wild is a real "art house" kind of film. Directed by Jack Garfein, it stars his wife, Carroll Baker, Ralph Meeker, and Mildred Dunnock. Of interest is the presence of two future TV stars, Jean Stapleton, and a dark-haired, slim, young Doris Roberts.
I watched this film and took it literally instead of just going for the psychological aspects, so I immediately was in trouble.
The story is a compelling one: a beautiful student (Baker) walks home through the park and is raped. Traumatized, she never tells anyone and eventually disappears from her home, where she lives with her parents.
She takes a room in a cheap, sleazy rooming house and gets a job at the five and ten. Her isolation and trauma grow deeper, and she tries to kill herself by jumping off of a bridge. She is saved by a man (Meeker) who, noticing that she's nearly fainted as he is walking with her, takes her to his apartment so that she can sleep while he goes to work.
After work, he goes out and returns so drunk he can barely stand. She fights him off and injures him in the eye. When she tries to leave, she is unable to - the door is locked from the inside, and he has the key somewhere. When he comes to, she asks to leave. He plans on keeping her there.
Fascinating story of a woman's agony and the darkness she is driven to, a man's horrible loneliness, and the tremendous power of freedom - freedom of the soul, freedom of the body, and the freedom to love and be loved.
There is very little dialogue in this movie, and it moves slowly. It's certainly a film made with a different sensibility than one usually sees.
While I appreciated the story, several things took me out of the symbolism and took me into reality. One was that the story was placed in New York City. This young woman probably went to Barnard or Columbia. I lived in NYC for 30 years. Why, when its dark out, would a woman walk alone through Central Park?
That was the first thing. The second thing is that after what she went through, she agreed to go to Ralph Meeker's apartment. She is so traumatized by her experience, I can't believe she'd walk down that awful hallway, let alone go inside the apartment.
The third thing: She knew he kept the key in his pocket, why didn't she just knock him out one night and leave?
I should not be bothered by these things in a film like this. So why are they in there? She could have been attacked in a vestibule, he could have taken her to his place in a cab when she fainted, he could have hidden the key. None of that was the real story but it was all a distraction.
Carroll Baker does a beautiful job of showing her character's torment, vulnerability, fear, and finally strength. Ralph Meeker was a fine actor and always a favorite of mine. I always found him very sexy and was not surprised to learn he was one of Brando's Streetcar replacements. Here he's not sexy. He's gentle, kind, lonely, and miserable. Your heart breaks for him even as you want him to free his prisoner.
The atmosphere in this film is tremendous. It's New York in the summer - so you can add 15 degrees to the heat anywhere else and double the humidity. The way she tried to keep herself cool in her room, her going into the rain, the door of the neighbor's kept open - anything for a small breeze - one really felt it, as well as both the silence of New York, as in the park, and the loudness and crowds - people partying, Times Square, the subway. Suffocating.
This is a powerful film. For me it could have been so much more. Even with its flaws, however, this young woman's journey is haunting.
I watched this film and took it literally instead of just going for the psychological aspects, so I immediately was in trouble.
The story is a compelling one: a beautiful student (Baker) walks home through the park and is raped. Traumatized, she never tells anyone and eventually disappears from her home, where she lives with her parents.
She takes a room in a cheap, sleazy rooming house and gets a job at the five and ten. Her isolation and trauma grow deeper, and she tries to kill herself by jumping off of a bridge. She is saved by a man (Meeker) who, noticing that she's nearly fainted as he is walking with her, takes her to his apartment so that she can sleep while he goes to work.
After work, he goes out and returns so drunk he can barely stand. She fights him off and injures him in the eye. When she tries to leave, she is unable to - the door is locked from the inside, and he has the key somewhere. When he comes to, she asks to leave. He plans on keeping her there.
Fascinating story of a woman's agony and the darkness she is driven to, a man's horrible loneliness, and the tremendous power of freedom - freedom of the soul, freedom of the body, and the freedom to love and be loved.
There is very little dialogue in this movie, and it moves slowly. It's certainly a film made with a different sensibility than one usually sees.
While I appreciated the story, several things took me out of the symbolism and took me into reality. One was that the story was placed in New York City. This young woman probably went to Barnard or Columbia. I lived in NYC for 30 years. Why, when its dark out, would a woman walk alone through Central Park?
That was the first thing. The second thing is that after what she went through, she agreed to go to Ralph Meeker's apartment. She is so traumatized by her experience, I can't believe she'd walk down that awful hallway, let alone go inside the apartment.
The third thing: She knew he kept the key in his pocket, why didn't she just knock him out one night and leave?
I should not be bothered by these things in a film like this. So why are they in there? She could have been attacked in a vestibule, he could have taken her to his place in a cab when she fainted, he could have hidden the key. None of that was the real story but it was all a distraction.
Carroll Baker does a beautiful job of showing her character's torment, vulnerability, fear, and finally strength. Ralph Meeker was a fine actor and always a favorite of mine. I always found him very sexy and was not surprised to learn he was one of Brando's Streetcar replacements. Here he's not sexy. He's gentle, kind, lonely, and miserable. Your heart breaks for him even as you want him to free his prisoner.
The atmosphere in this film is tremendous. It's New York in the summer - so you can add 15 degrees to the heat anywhere else and double the humidity. The way she tried to keep herself cool in her room, her going into the rain, the door of the neighbor's kept open - anything for a small breeze - one really felt it, as well as both the silence of New York, as in the park, and the loudness and crowds - people partying, Times Square, the subway. Suffocating.
This is a powerful film. For me it could have been so much more. Even with its flaws, however, this young woman's journey is haunting.
Lost Souls
rpvanderlinden15 October 2010
"Something Wild" tells a very simple story. A young woman is raped and her whole world falls to pieces. She is saved from a suicide attempt by a lonely young man who helps her to heal. It's not such an exceptional tale. You could even apply to it that famous line from the TV series "The Naked City": "There are eight million stories in the naked city. This has been one of them." We are witness to some very personal and intimate moments in the lives of two people whose ability to feel has been smothered. The woman has had her whole being violated. The man, craving love, tries to hold onto her. The two actors, Carroll Baker and Ralph Meeker, certainly are game, but I was uncomfortable with the second half of the film both times that I watched it. The two lead actors sometimes seem stranded in scenes that are quite stagey, and some lines, especially Meeker's "you're my last chance", land with a resounding clunk. Although the woman might still be suicidal, and would-be suicides can be quite devious, I just didn't buy the hostage situation (or the ending), and it was repugnant to me, anyway. It was, essentially, the old cliché of the controlling man telling the woman: "Do as you're told, because I know what's best for you." For a woman traumatized by rape that can hardly be reassuring.
This film is helped immeasurably by its low budget and on-location shooting in New York City. No amount of studio fakery could duplicate the ethereal majesty of the Brooklyn Bridge or the teeming streets of the tenements, or the interesting clutter of a five-and-dime store. The first half of the film, depicting the rape and the woman's trauma, following it, is gripping and believable, in no small way due to Baker's performance, though the film's view of humanity struck me as rather misanthropic. The work of Saul Bass (titles) and Aaron Copland (music) felt as if it was created for a more hyper urban drama than this intimate piece, but Eugen Schufftan's cinematography was obviously a labour of love.
This film is helped immeasurably by its low budget and on-location shooting in New York City. No amount of studio fakery could duplicate the ethereal majesty of the Brooklyn Bridge or the teeming streets of the tenements, or the interesting clutter of a five-and-dime store. The first half of the film, depicting the rape and the woman's trauma, following it, is gripping and believable, in no small way due to Baker's performance, though the film's view of humanity struck me as rather misanthropic. The work of Saul Bass (titles) and Aaron Copland (music) felt as if it was created for a more hyper urban drama than this intimate piece, but Eugen Schufftan's cinematography was obviously a labour of love.
Weird but worthwhile
luciferjohnson15 March 2002
This movie is somber, downbeat, and really really weird. Many women hate this movie because of the ending. And for good reason. I guess you can say this is the kind of movie that leaves one with a bad taste in the mouth. It is the kind of movie where you want to scream at the characters--"what the hell are you doing?" But this film is hypnotic in its strange way. The performances are terrific, and the locations are stunning. They may not have been viewed that way 40 years ago, but today it is a kind of museum piece, very accurately capturing the atmosphere of New York City in the early Sixties. There is an excellent score by Aaron Copland, which was later released as "Symphony for a Great City." Since this was a low-budget movie, one really has to wonder how much he was paid to score this film. You also have to wonder why this movie was such poison for everyone associated with it. The author of the novel never wrote anything significant again. The director, Baker's hubby, faded away. Baker divorced him and Ralph Meeker hit the skids. Something Wild has many tragic dimensions, for both its characters and its stars.
The girl on the bridge
jotix10015 October 2012
Warning: Spoilers
Jack Garfein, a Holocaust survivor, emigrated to New York, where he went to make a name for himself in his stage work, and his association with Elia Kazan, who was a mentor of sorts. Yet, his film career was short consisting of only two movies he directed, "The Strange One" in 1957 and "Something Wild", in 1961. The latter one showed up on a classic cable channel recently.
"Something Wild" is basically a European sort of film, in flavor, as well as in content. The walk through a city was one of the basic elements, as it is in here. Mary Ann Robinson, a luscious young student makes the mistake of lingering in a park on her way home from school. She is assaulted by an unknown man who proceeds to rape her. Mary Ann's reaction is what triggers the events she will experience in trying to deal with the tragedy she lived during that terrifying night she lived.
Her house was dominated by a stern mother and a father that seemed not to have anything to say at home. It is not hard to understand how this young woman decide to flee her comfortable surroundings in order to lose herself in the anonymity of the big city. She ends up in a seedy rooming house and a job in a dime store. Her state of mind is clearly the motivation for being at the Manhattan bridge one day thinking about committing suicide. She is rescued by Mike, a mechanic, who happens to be nearby.
Mike offers her to stay in his basement apartment, something that she accepts, but in turn, she makes the wrong decision as she becomes Mike's prisoner. Trying to escape proves impossible; Mike who has a drinking problem sees the opportunity to have his way one night with the young woman, only to be rejected. The situation deteriorates, becoming a sort of Stockholm Syndrome where the two people develop a liking to each other, with Mike wanting to keep her with him forever.
Carroll Baker had made a name for herself in the American cinema for her provocative role of "Baby Doll", an erotically charge vehicle directed by Elia Kazan. Ms. Baker was at the height of her beauty at the time. Her Mary Ann is appealing and the chemistry between her and co-star Ralph Meeker is evident. Jean Stapleton has a minor role as the sleazy neighbor in the rooming house. Doris Roberts also can be seen as well as an uncredited Diane Ladd. The black and white photography captures the New York of the early 1960s by Eugene Schufftan, the German born cinematographer associated with Fritz Lang. The jazzy score is the creation of Aaron Copland.
"Something Wild" is basically a European sort of film, in flavor, as well as in content. The walk through a city was one of the basic elements, as it is in here. Mary Ann Robinson, a luscious young student makes the mistake of lingering in a park on her way home from school. She is assaulted by an unknown man who proceeds to rape her. Mary Ann's reaction is what triggers the events she will experience in trying to deal with the tragedy she lived during that terrifying night she lived.
Her house was dominated by a stern mother and a father that seemed not to have anything to say at home. It is not hard to understand how this young woman decide to flee her comfortable surroundings in order to lose herself in the anonymity of the big city. She ends up in a seedy rooming house and a job in a dime store. Her state of mind is clearly the motivation for being at the Manhattan bridge one day thinking about committing suicide. She is rescued by Mike, a mechanic, who happens to be nearby.
Mike offers her to stay in his basement apartment, something that she accepts, but in turn, she makes the wrong decision as she becomes Mike's prisoner. Trying to escape proves impossible; Mike who has a drinking problem sees the opportunity to have his way one night with the young woman, only to be rejected. The situation deteriorates, becoming a sort of Stockholm Syndrome where the two people develop a liking to each other, with Mike wanting to keep her with him forever.
Carroll Baker had made a name for herself in the American cinema for her provocative role of "Baby Doll", an erotically charge vehicle directed by Elia Kazan. Ms. Baker was at the height of her beauty at the time. Her Mary Ann is appealing and the chemistry between her and co-star Ralph Meeker is evident. Jean Stapleton has a minor role as the sleazy neighbor in the rooming house. Doris Roberts also can be seen as well as an uncredited Diane Ladd. The black and white photography captures the New York of the early 1960s by Eugene Schufftan, the German born cinematographer associated with Fritz Lang. The jazzy score is the creation of Aaron Copland.
Something Wild
bunnycorona11 July 2006
Warning: Spoilers
I too saw this movie at a young age, I am now 47, I remember it so vividly, her getting raped, and then the women who taunted her at the WoolWorth's? that she worked in, and her walking on a bridge, and then Mike saving her life, he taking her home to his little apartment, and she was so scared of him, because of the rape experience, and then he came home drunk, and kind of wanted to pet her, and she kicked him in the eye, this was such a great movie, remember at the end of the movie she went home to see her mother, and her and Mike had married, and she had a baby. I would give a kidney to get this on DVD, I think this movie was so great in black and white, which I actually prefer to watch, and it showed NY as such a bustling and busy place, and this girl was just lost, and yet this man came out of nowhere to save her life, Ralph Meeker was so great in his role, I saw where he died in 1988 of a heart attack, he was such a find actor, too. So was Carroll Baker, I didn't even know who she was at the time.
Good movie but....
Budozanshin117 September 2018
Warning: Spoilers
I very much like these movies of the late 50's/early 60's. Black and white. Low budget. Story and character driven and with a focus on realism. Populated by ordinary people and usually set in working class or poorer sections of the big city the movies usually are pathos heavy. "A Patch of Blue", and "The Pawnbroker," come immediately to mind. ..a sort of "film noir" without the rain swept city streets, gun molls and heists. That said, I was a tad disappointed in this movie because of the Meeker character. His motivation isn't entirely selfless and his actions as regards the Baker character can not be consider noble. Was it the deliberate intent of the movie's makers to show a dichotomy in the Meeker character's psychie to keep us guessing? Frankly, I'd prefer a more straight forward protagonist with a focus on the Baker character's recovery. That is why I only gave the movie 6 stars out of 10. Then again, that's just my opinion. Overall, a good movie and worth watching for those of us who enjoy good little flicks that are well done.
Starts Off Fine......................
bkoganbing9 April 2008
Warning: Spoilers
Something Wild starts off very well. Those minutes in the beginning with no dialog showing the aftermath of the attack on Carroll Baker are very realistically done. But when Baker leaves home the story goes off into the unbelievable.
Carroll is a young college student who is attacked and raped on her way home one night. She tells no one about the attack and you take one look at her stepfather and mother and you can see why. Charles Watts is something of a doofus and mother Mildred Dunnock is one of those perpetually sick women who really enjoy being miserable and making others around the same.
Note the scene where Baker carefully destroys all the clothes she wore during the attack and also how she carefully bathes to get rid of every trace her attacker might have left. What you're seeing there is the reason many women do not report rapes, even with the most insightful and sensitive of sex crimes detectives you are reliving horrific events that you want to put out of your mind.
Unfortunately after that the film goes haywire. The man who Carroll eventually takes up, Ralph Meeker, an average Joe, a garage mechanic is just a bit too good to be true. I couldn't see the rest of the story myself at all.
Look for a nice performance by Jean Stapleton as Carroll's rather slatternly next door neighbor in a rooming-house Carroll moves in after leaving home abruptly. It's as far from Edith Bunker as you can get.
Dealing with rape trauma, the film was squarely on the money, but the rest of it I just couldn't buy.
Carroll is a young college student who is attacked and raped on her way home one night. She tells no one about the attack and you take one look at her stepfather and mother and you can see why. Charles Watts is something of a doofus and mother Mildred Dunnock is one of those perpetually sick women who really enjoy being miserable and making others around the same.
Note the scene where Baker carefully destroys all the clothes she wore during the attack and also how she carefully bathes to get rid of every trace her attacker might have left. What you're seeing there is the reason many women do not report rapes, even with the most insightful and sensitive of sex crimes detectives you are reliving horrific events that you want to put out of your mind.
Unfortunately after that the film goes haywire. The man who Carroll eventually takes up, Ralph Meeker, an average Joe, a garage mechanic is just a bit too good to be true. I couldn't see the rest of the story myself at all.
Look for a nice performance by Jean Stapleton as Carroll's rather slatternly next door neighbor in a rooming-house Carroll moves in after leaving home abruptly. It's as far from Edith Bunker as you can get.
Dealing with rape trauma, the film was squarely on the money, but the rest of it I just couldn't buy.
incredible acting evokes pity for not too likable characters
vanorten31224 September 2006
I remember watching this movie when i was in grade school and getting reprimanded by parents for viewing an"adult" film. I have seen it through various stages of my life and still find it intriguing. Both Mike and Maryann are not endearing characters and have many physical and psychological problems. When I say they deserve one another;I don't mean it in a harsh way, but rather a statement of practicality. We are not shed too much light on their past, but know it is affecting their present. Only with the help and love of each other can they survive their all too bleak future. The filming in black and white certainly adds to the dreariness of their situations. They are not "people" persons, but seem to have respect and commiseration for one another. Though Mike (RalphMeeker) seems to be controlling and possessive, it is something Maryann unconsciously needs. He builds her stamina and literally sharpens her survival skills. Maryann had problems before the rape as seen in flashbacks of her school and home life. Mike seems to be more mysterious, living a desolate and pitiful existence..only confiding to her that she is his last chance. It is only through their incredible acting that you forgive their shortcomings.
This film stayed with me for 30 or 40 years!
dapplegrey1317 October 2010
I always wondered what strange, obscure film it was that I saw in the sixties as a child that haunted me for the rest of my life (I'm 50 now). I think it had a great influence on some of my choices in life -- no kidding. I finally saw it on TCM today and it's no wonder it stayed with me! It alternates between brutal and tearfully sad to uplifting and achingly tender. I wouldn't say it's a great film, but it is certainly unforgettable! I thought the score was way too strong and ear-piercing. It hurt the film. And I thought the pace of the film was simply too slow. Some of the temper tantrums seemed contrived. However, the incredible TENDERNESS of this unusual love story is simply beautiful. I don't know if I've EVER seen such a moving kiss -- and I am a devoted fan of the classics (and new movies too).
I am so glad TCM played it. I hope they will again. I would recommend "Something Wild" only to those film lovers who enjoy serious (and sometimes depressing) drama.
I am so glad TCM played it. I hope they will again. I would recommend "Something Wild" only to those film lovers who enjoy serious (and sometimes depressing) drama.
This movie has left me baffled
janetbrieva16 November 2015
Warning: Spoilers
It was truly an awful movie. I don't understand how anyone could refer to Mike as "romantic". This is the TMC description of this movie: "Something Wild (1961) A rape victim runs away from her family and takes shelter with a romantic auto mechanic." A ROMANTIC???? He was a kidnapper. From the moment he refused to let her out of his apartment I was unable to change the channel in hopes that this kidnapping, drunk, would eventually redeem himself - HE NEVER DID. I do understand that Mary Ann Robinson was initially trying to kill herself, but how could keeping her hostage in a grubby apartment make things better. Mary Ann was unstable but I think Mike was even more unstable. Also, why didn't her mother tell her step-father that she finally knew where Mary Ann was? Why did she leave him in the dark?
Baby Doll Grows Up!
dbonk23 August 2004
Actually, New York,New York is the real star of SOMETHING WILD. Carroll Baker is lovingly lit throughout the whole picture(thanks to Director and then husband Jack Garfein)amidst the alternate squalor and splendor of America's greatest city.
The brutal rape of Miss Baker's character within the first 5 minutes of the movie is depicted with surprising frankness for its time. One can almost smell the sweat of the predatory thug who, without saying a word, viciously violates her. This scene is all the more harrowing in that there is no music soundtrack provided. Yet another example that The Hays Code was becoming by 1961 an historical document not reflecting the current mood of what the North American movie public was indeed mature enough to view on the silver screen.
I really enjoyed the kitchen sink realism of this picture, from the cattiness of the girls at Woolworth's against fellow worker Miss Baker(Doris Roberts nails her part for all it's worth) to the good natured slovenliness of Jean Stapleton's next door neighbor in the tenement slum.
Ralph Meeker(every man's meat&potatoes actor)is Carroll Baker's 'knight in shining armor' in this movie. Rescuing Miss Baker from a leap into despair and the briny deep, he then proceeds to hold her captive in his castle,or in this case a barren basement bed and...bed. "Mike" is an auto mechanic and yet he has no phone,no radio, and just one light bulb that illuminates the entire room. However, away from the elbow grease of his job, "Mike" likes to spend his hard earned money bending his elbow at the neighborhood bar. We see the staggering evidence on more than one occasion and poor Carroll, already victimized earlier now has to confront yet another man turned beast.
Of particular notice is Carroll Baker's wardrobe throughout this flick. She wears light-colored dresses and matching white pumps which, with her soft, flowing blonde hair, enhances her already luminous presence on screen. This is all the more striking in black & white,particularly during the location shots along the sleazy store fronts of 42nd St. Only at the movie's end does she wear a dark print dress and jet black high heels. Likewise in BABY DOLL, Miss Baker wore white until the final reel,after her climactic encounter with Eli Wallach,in which she then donned a black dress.
Parallels may be drawn between the two movies, but SOMETHING WILD is as valid today as a subway token. Some days you are lucky to find a seat,while on others you better hold on to the overhanging strap.
Rate this *** out of **** stars.
The brutal rape of Miss Baker's character within the first 5 minutes of the movie is depicted with surprising frankness for its time. One can almost smell the sweat of the predatory thug who, without saying a word, viciously violates her. This scene is all the more harrowing in that there is no music soundtrack provided. Yet another example that The Hays Code was becoming by 1961 an historical document not reflecting the current mood of what the North American movie public was indeed mature enough to view on the silver screen.
I really enjoyed the kitchen sink realism of this picture, from the cattiness of the girls at Woolworth's against fellow worker Miss Baker(Doris Roberts nails her part for all it's worth) to the good natured slovenliness of Jean Stapleton's next door neighbor in the tenement slum.
Ralph Meeker(every man's meat&potatoes actor)is Carroll Baker's 'knight in shining armor' in this movie. Rescuing Miss Baker from a leap into despair and the briny deep, he then proceeds to hold her captive in his castle,or in this case a barren basement bed and...bed. "Mike" is an auto mechanic and yet he has no phone,no radio, and just one light bulb that illuminates the entire room. However, away from the elbow grease of his job, "Mike" likes to spend his hard earned money bending his elbow at the neighborhood bar. We see the staggering evidence on more than one occasion and poor Carroll, already victimized earlier now has to confront yet another man turned beast.
Of particular notice is Carroll Baker's wardrobe throughout this flick. She wears light-colored dresses and matching white pumps which, with her soft, flowing blonde hair, enhances her already luminous presence on screen. This is all the more striking in black & white,particularly during the location shots along the sleazy store fronts of 42nd St. Only at the movie's end does she wear a dark print dress and jet black high heels. Likewise in BABY DOLL, Miss Baker wore white until the final reel,after her climactic encounter with Eli Wallach,in which she then donned a black dress.
Parallels may be drawn between the two movies, but SOMETHING WILD is as valid today as a subway token. Some days you are lucky to find a seat,while on others you better hold on to the overhanging strap.
Rate this *** out of **** stars.
interesting work from Carroll Baker
SnoopyStyle1 September 2014
Mary Ann Robinson (Carroll Baker) lives in the Bronx with her domineering mother (Mildred Dunnock) and stepfather. One night walking home from the train, she is raped in a park. She doesn't tell anyone and it takes a toll on her. She abandons her life and runs away renting a rundown apartment. Shirley Johnson (Jean Stapleton) is her loose next door neighbor. Her mother hounds detective Bogart (Clifton James) to find her. Mary Ann struggles eventually tries to jump off the Manhattan Bridge. She is stopped by passerby Mike (Ralph Meeker) who takes her back to his basement apartment. What starts out as a little creepy turns into a comfortable kindness. Then he turns up drunk and she's locked in. He won't let her go.
Carroll Baker is basically disintegrating on screen. It's an interesting performance. The turn with Ralph Meeker is an odd animal. There are so many ways to look at it and I'm sure there are people for each way. There are many ways this movie could go but I don't think the happy ending is deserved. It didn't really earn it. It's not great but I hope it's something the filmmaker wanted.
Carroll Baker is basically disintegrating on screen. It's an interesting performance. The turn with Ralph Meeker is an odd animal. There are so many ways to look at it and I'm sure there are people for each way. There are many ways this movie could go but I don't think the happy ending is deserved. It didn't really earn it. It's not great but I hope it's something the filmmaker wanted.
"Strange One", Avant-Garde & Expressionistic, Occasionally Stilted & Stagy
LeonLouisRicci11 January 2016
Haunting, Avant-Garde, and occasionally Surreal Anti-Hollywood Movie from the Early Sixties failed to get noticed in its initial release despite Carol Baker's Notoriety, mostly from a similar Film with a lurid, controversial, and sensational subject matter, Elia Kazan's Baby Doll (1957).
Directed by Her then Husband, Stage Director Jack Garfein, and Co-Starring the prolific but curiously obscure Method Actor Ralph Meeker, this is a "Strange One" indeed. The least of which is the decision to bust the code with its "Rape" and its aftermath Storyline.
The Film has a few flourishes that stand out among the repetitive and slow-burning scenes that frankly lose some impact with a meandering of melancholy heavy-handedness. However, the Artistic Flare of the Director with a Jazzy and unsettling Score and some very Expressionistic Cinematography and Filthy Squalor of the Tenement Environment are indelible
Some of the Dialog is rather clunky and repeated often, and there is an urgency to the Story that is held back with some Over-Extension and the Film, at times, especially in the Second Half is a bit Stagy. As a whole it's not as good as its parts and is a somewhat endurance test, but is not without its Fine Points.
A Daring and Disturbing Movie has since gained some appreciation for its willingness to expand Cinema's conventions and its Artistic Template. Not a Great Film but a noteworthy Production as an Artifact of its Time and Place, and its contribution to help American Films evolve, taking a cue from the European New Wave Influence.
Directed by Her then Husband, Stage Director Jack Garfein, and Co-Starring the prolific but curiously obscure Method Actor Ralph Meeker, this is a "Strange One" indeed. The least of which is the decision to bust the code with its "Rape" and its aftermath Storyline.
The Film has a few flourishes that stand out among the repetitive and slow-burning scenes that frankly lose some impact with a meandering of melancholy heavy-handedness. However, the Artistic Flare of the Director with a Jazzy and unsettling Score and some very Expressionistic Cinematography and Filthy Squalor of the Tenement Environment are indelible
Some of the Dialog is rather clunky and repeated often, and there is an urgency to the Story that is held back with some Over-Extension and the Film, at times, especially in the Second Half is a bit Stagy. As a whole it's not as good as its parts and is a somewhat endurance test, but is not without its Fine Points.
A Daring and Disturbing Movie has since gained some appreciation for its willingness to expand Cinema's conventions and its Artistic Template. Not a Great Film but a noteworthy Production as an Artifact of its Time and Place, and its contribution to help American Films evolve, taking a cue from the European New Wave Influence.
Disturbing Beautiful Nightmare!
shepardjessica23 June 2004
This strange little-known film directed by Carroll Baker's then-husband Jack Garfein stays with you, even with some pseudo-depressive situations popping up every other scene. Baker, wildly underrated in her long career, is right on the mark as usual. Ralph Meeker is outstanding as the brooding "patch-man" with the dingy, cool apartment in New York.
Fortunately, little films like this were produced in the 60's and 70's in America. We'll never see that again. If you read a description of the subject matter of this film, don't be turned off. If you can find it, give it a chance. It's had a lingering effect on me since I was a kid and recommend it with an 8 out of 10. Bravo Carroll and Ralph!
Fortunately, little films like this were produced in the 60's and 70's in America. We'll never see that again. If you read a description of the subject matter of this film, don't be turned off. If you can find it, give it a chance. It's had a lingering effect on me since I was a kid and recommend it with an 8 out of 10. Bravo Carroll and Ralph!
Intriguing, odd, uncomfortable
WorldProxy17 October 2020
Warning: Spoilers
Any old movie which features manhattan as a backdrop is interesting to me. The Manhattan bridge and gritty side street make for a subtle character in the background. A violent rape by a stranger sends a pretty college girl into despair exposing the social inequalities of women in that era. But then she meets a desperate drunk who selfishly imprisons her in his basement apartment like a wounded kitten in hopes of being saved himself. As the story progresses, the uncomfortable occurrence of Stockholm syndrome comes in play. Yes, it's interesting to watch but pretty weird psychology in those days.
A great, completely underrated American 'method acting' masterpiece
Aw-komon11 February 2001
I first became aware of this film when Winona Ryder mentioned it as one of her all-time favorite films in an interview with Timothy Leary. I found that no video copy of the film was on the market and it was rarely screened. I knew right away it would have to be a truly great film to be ignored for 40 years by the same American movie-going public who turned Kazan's ridiculously overrated "On the Waterfront" into a multi Oscar winner, gave George Stevens an Oscar for the awful "Giant," and made their greatest director (Orson Welles), a commercial failure and an exile.
Well I finally saw this thing yesterday, in pristine form and on the huge screen of the Egyptian theatre in Hollywood, thanks to the American Cinamateque, and all my suspicions and predictions were comfirmed: it's not only a masterpiece but one of the most idiosyncratic American films ever made; better than any pre-East-of-Eden Kazan film and featuring an astounding performace from Carroll Baker, and a brilliantly bizzare and understated one from Ralph Meeker. The film's pace is slow and methodical, frustrating ALL audience expectations and conditioning in the best Antonioni style (you can clearly tell Garfein's seen "L'Avventura" and "La Notte" a few times), and revealing insights and truths that would be completely obzcured otherwise. Most of the film is fascinatingly shot on crowded New York streets in a semi-neo-realist style using long takes and with the modernist music of Aaron Copland providing an eerie counterpoint to the visual mood. The cinematography is by Eugen Shuftan, the same guy who shot Fritz Lang's famous silent film "Metropolis" and it's expressionistic to the max, providing further contrast and counterpoint, a 'poetic touch' to the realistic method acting employed in the film.
Some people might think that the entire film is absurd and no rape victim would refuse to say anything about her rape and then fall in love and marry a crazy mechanic who locks her in an apartment, but they forget one point: Meeker doesn't know (because he was drunk out of his mind) that he violated Baker's trust and when Baker mentions that she was the one who kicked him in the eye, he realizes his inpropriety, becomes patient, and leaves the door unlocked. Furthermore, the reason Meeker locks Baker in the room in the beginning is partly to prevent her from another 'blacked-out' suicide attempt, because he loves her and doesn't want to lose her. And the objection of 'rape victims who never report their rape are unrealistic' is ridiculous on its face; everyone knows from statistics that it is an unoforunate and all too common occurence, maybe even especially more so when the girl raped is beautiful enough to be said to be 'provoking' men. So the entire film is completely valid on its face and thoroughly realistc. But what makes it great are the little touches and details, the time taken to capture the nuances of acting and location that other films don't make the effort for. One can only hope that Jack Garfein (the director, who was married to Carroll Baker at the time) makes the further effort of getting MGM/UA or whoever owns the original negative of this film, to transfer it to a good DVD to give people a chance to rediscover one of the great American films some 40 years after its initial release to commerical failure: "Something Wild."
Well I finally saw this thing yesterday, in pristine form and on the huge screen of the Egyptian theatre in Hollywood, thanks to the American Cinamateque, and all my suspicions and predictions were comfirmed: it's not only a masterpiece but one of the most idiosyncratic American films ever made; better than any pre-East-of-Eden Kazan film and featuring an astounding performace from Carroll Baker, and a brilliantly bizzare and understated one from Ralph Meeker. The film's pace is slow and methodical, frustrating ALL audience expectations and conditioning in the best Antonioni style (you can clearly tell Garfein's seen "L'Avventura" and "La Notte" a few times), and revealing insights and truths that would be completely obzcured otherwise. Most of the film is fascinatingly shot on crowded New York streets in a semi-neo-realist style using long takes and with the modernist music of Aaron Copland providing an eerie counterpoint to the visual mood. The cinematography is by Eugen Shuftan, the same guy who shot Fritz Lang's famous silent film "Metropolis" and it's expressionistic to the max, providing further contrast and counterpoint, a 'poetic touch' to the realistic method acting employed in the film.
Some people might think that the entire film is absurd and no rape victim would refuse to say anything about her rape and then fall in love and marry a crazy mechanic who locks her in an apartment, but they forget one point: Meeker doesn't know (because he was drunk out of his mind) that he violated Baker's trust and when Baker mentions that she was the one who kicked him in the eye, he realizes his inpropriety, becomes patient, and leaves the door unlocked. Furthermore, the reason Meeker locks Baker in the room in the beginning is partly to prevent her from another 'blacked-out' suicide attempt, because he loves her and doesn't want to lose her. And the objection of 'rape victims who never report their rape are unrealistic' is ridiculous on its face; everyone knows from statistics that it is an unoforunate and all too common occurence, maybe even especially more so when the girl raped is beautiful enough to be said to be 'provoking' men. So the entire film is completely valid on its face and thoroughly realistc. But what makes it great are the little touches and details, the time taken to capture the nuances of acting and location that other films don't make the effort for. One can only hope that Jack Garfein (the director, who was married to Carroll Baker at the time) makes the further effort of getting MGM/UA or whoever owns the original negative of this film, to transfer it to a good DVD to give people a chance to rediscover one of the great American films some 40 years after its initial release to commerical failure: "Something Wild."
The Bride of the Mechanic
sol-kay11 May 2009
Warning: Spoilers
(Some Spoilers) Coming home from school one evening pretty collage student Mary-Ann, Carroll Baker, is brutally attacked and raped from a man hiding in the bushes. Feeling guilty as well as traumatized Mary-Ann soon finds out that the life she had up until her being raped will never be the same again. This leads her to quit collage and move, from where she lived with her mom, into this one room dive on the lower East-Side of Manhattan. It's in this cold water walk-up where the landlord, Martin Kosieck, is more interested in her personally, Mary-Ann is some dish, then Mary-Ann's rent which is $5.00 a week.
As Mary-Ann starts to feel that her shattered life is no longer worth living she decides to end it all by attempting to jump off the Manhattan Bridge. It's then that her "Knight in Shining Amour" a car mechanic named Mike, Ralph Meeker, comes to her rescue! Or does he? Mike who's seems to have some problems, to say the least, with the opposite sex then practically kidnap's Mary-Ann keeping her locked up in his basement apartment as his now and future "wife"!
We get to see the effects of what was to become known as the "Stockholm Syndrome" in this weird relationship between Mary-Ann and the brutish and unkempt "Mike the Mechanic". At first Mary-Ann would have nothing at all to do with the scuzzy and Stanley Kowalski-like Mike who has trouble staying sober most of the time he's with her. Mary-Ann almost knocks out Mike's left eye when he come back to his "bachelor pad" dead drunk from a night of partying while she was being held there against her will. We, as well as Mary-Ann, soon realize just how juiced up Mike was when he, in the drunken state he was in, totally forgot what happened to him until Mary-Ann herself told the guy she was the person who gave him that king size shiner! All the time Mike thought that he got it it a brawl at the neighborhood gin-mill!
Finally getting the message in knowing that he's not wanted Mike did the right thing and, by leaving the door to his place unlocked, let Mary-Ann go free. If the big jerk did that when he first brought Mary-Ann, after saving her life, to his dump maybe she would have gotten to like him!
***SPOLER ALERT*** Even though the ending of the film is a bit hard to take it still brought tears, sob sob, to your eyes in showing how Mike cleaned himself up and changed his caveman attitude towards women by becoming a perfect gentleman. As for Mary-Ann she did overcome her fear of men, because of being raped, as well as life due to her wild and crazy relationship with Mike. Filmed on location in New York City "Something Wild" is also worth watching just for its nostalgia value alone.
Even though it was panned by the US critics for being too Avant Guard for their tastes in its no holds barred showing, among other things, of a woman being raped on screen the film was widely accepted in Europe for just that very reason; Its unapologetic realism. Now after some 45 years "Something Wild" has been rediscovered here in America as the ground breaking movie that it was back then in 1961. Even though compared to most adult films coming out of Hollywood studios now it may almost qualify for a "G" rating.
As Mary-Ann starts to feel that her shattered life is no longer worth living she decides to end it all by attempting to jump off the Manhattan Bridge. It's then that her "Knight in Shining Amour" a car mechanic named Mike, Ralph Meeker, comes to her rescue! Or does he? Mike who's seems to have some problems, to say the least, with the opposite sex then practically kidnap's Mary-Ann keeping her locked up in his basement apartment as his now and future "wife"!
We get to see the effects of what was to become known as the "Stockholm Syndrome" in this weird relationship between Mary-Ann and the brutish and unkempt "Mike the Mechanic". At first Mary-Ann would have nothing at all to do with the scuzzy and Stanley Kowalski-like Mike who has trouble staying sober most of the time he's with her. Mary-Ann almost knocks out Mike's left eye when he come back to his "bachelor pad" dead drunk from a night of partying while she was being held there against her will. We, as well as Mary-Ann, soon realize just how juiced up Mike was when he, in the drunken state he was in, totally forgot what happened to him until Mary-Ann herself told the guy she was the person who gave him that king size shiner! All the time Mike thought that he got it it a brawl at the neighborhood gin-mill!
Finally getting the message in knowing that he's not wanted Mike did the right thing and, by leaving the door to his place unlocked, let Mary-Ann go free. If the big jerk did that when he first brought Mary-Ann, after saving her life, to his dump maybe she would have gotten to like him!
***SPOLER ALERT*** Even though the ending of the film is a bit hard to take it still brought tears, sob sob, to your eyes in showing how Mike cleaned himself up and changed his caveman attitude towards women by becoming a perfect gentleman. As for Mary-Ann she did overcome her fear of men, because of being raped, as well as life due to her wild and crazy relationship with Mike. Filmed on location in New York City "Something Wild" is also worth watching just for its nostalgia value alone.
Even though it was panned by the US critics for being too Avant Guard for their tastes in its no holds barred showing, among other things, of a woman being raped on screen the film was widely accepted in Europe for just that very reason; Its unapologetic realism. Now after some 45 years "Something Wild" has been rediscovered here in America as the ground breaking movie that it was back then in 1961. Even though compared to most adult films coming out of Hollywood studios now it may almost qualify for a "G" rating.
a kind loner or a crazed psychopath...you decide.
planktonrules29 April 2018
Warning: Spoilers
Warning: This movie is pretty difficult stuff to watch...particularly to folks who have themselves been victims of abuse. The story easily could make any people uncomfortable or worse...so keep this in mind before watching "Something Wild".
Writer/director Jack Garfein featured his wife, Caroll Baker, in the lead in this story. It begins with Mary Ann (Baker) coming home one evening when she is assaulted by some pervert. She doesn't tell anyone but instead comes home, bathes and tries to go about her life. But she's deeply traumatized and soon she disappears from her mother's home. Now, she's on her own and living in a dumpy apartment. After a while, memories of the assault are so severe that she tries to kill herself but is rescued by Mike (Ralph Meeker). At first he seems like a great guy...her benefactor. However, it soon becomes apparent he's a weirdo and had god knows what in store for her, as he locks her in his apartment and won't let her go.
This movie is life two disparate stories stuck together. The first, about the assault, is very much ahead of its time and daring...and a very good portrayal of the trauma and post-traumatic reactions. Carroll Baker is marvelous in this. The other part is about the weird guy...and his overwrought acting which left me confused and annoyed. And, while I generally love Ralph Meeker, here he's pretty terrible when he goes through his odd spasms on camera....see the film and you'll see what I mean. While I am sure Garfein was going for something profound, the overall film just comes off as goofy and strange. An interesting movie to watch because of its subject matter and a great film for aspiring writers and directors as there is minimal dialog in the film....no easy thing to achieve...but also a film that will leave many film viewers confused and baffled...especially since the film seems to romanticize Stockholm Syndrome!
Writer/director Jack Garfein featured his wife, Caroll Baker, in the lead in this story. It begins with Mary Ann (Baker) coming home one evening when she is assaulted by some pervert. She doesn't tell anyone but instead comes home, bathes and tries to go about her life. But she's deeply traumatized and soon she disappears from her mother's home. Now, she's on her own and living in a dumpy apartment. After a while, memories of the assault are so severe that she tries to kill herself but is rescued by Mike (Ralph Meeker). At first he seems like a great guy...her benefactor. However, it soon becomes apparent he's a weirdo and had god knows what in store for her, as he locks her in his apartment and won't let her go.
This movie is life two disparate stories stuck together. The first, about the assault, is very much ahead of its time and daring...and a very good portrayal of the trauma and post-traumatic reactions. Carroll Baker is marvelous in this. The other part is about the weird guy...and his overwrought acting which left me confused and annoyed. And, while I generally love Ralph Meeker, here he's pretty terrible when he goes through his odd spasms on camera....see the film and you'll see what I mean. While I am sure Garfein was going for something profound, the overall film just comes off as goofy and strange. An interesting movie to watch because of its subject matter and a great film for aspiring writers and directors as there is minimal dialog in the film....no easy thing to achieve...but also a film that will leave many film viewers confused and baffled...especially since the film seems to romanticize Stockholm Syndrome!
Why isn't this underrated classic on DVD???
JohnnyGWeir19 May 2006
Filmed in moody black and white with a jumpy early-60's score by Aaron Copland, a young Carroll Baker plays a college student raped on her way home from school one Spring evening in a scene being racy for its time. The rape triggers an anxiety neurosis of some kind and Baker suddenly seeks to escape her domineering mother by running away into the depths of New York City, renting a room in a seedy boarding house and getting a menial job at the local Woolworth's. Obviously superior to her surroundings, she doesn't fit in and the rejection increases her nervous state till, on the verge of a breakdown, she meets a well-meaning man with similar needs who forces her to unite with him.
**
edwagreen11 December 2015
Warning: Spoilers
Carroll Baker spends all of the film confused, dazed and suicide-prone following her being raped on her way home from school one night. Her suicide attempt is thwarted by Ralph Meeker, who takes her to his home and then refuses to let her out.
There is a good performance by Mildred Dunnock, who co-starred with Baker in "Baby Doll." Dunnock is her usual overwhelming self, flustered, and even bigoted in the film. Jean Stapleton is interesting as a fellow tenant in the building where Baker comes to live in after she runs away from it all. Stapleton talks in that Edith Bunker voice and is rebuked by Baker. We see her entertaining a guy in her apartment, drunk and carrying on.
We see the seamy side of New York City in buildings where just about no one would even want to walk by, yet alone live in.
Ralph Meeker's character as the loner who comes into Baker's life is not fully developed here.
There is a good performance by Mildred Dunnock, who co-starred with Baker in "Baby Doll." Dunnock is her usual overwhelming self, flustered, and even bigoted in the film. Jean Stapleton is interesting as a fellow tenant in the building where Baker comes to live in after she runs away from it all. Stapleton talks in that Edith Bunker voice and is rebuked by Baker. We see her entertaining a guy in her apartment, drunk and carrying on.
We see the seamy side of New York City in buildings where just about no one would even want to walk by, yet alone live in.
Ralph Meeker's character as the loner who comes into Baker's life is not fully developed here.
Wildly strange and stunning study of human despair
michaelasiclari16 November 2015
I first saw this film on T.V. back in the late sixties.I was only eight or nine years old. This beautifully tragic film had a lasting effect on me. It was many years later, before I had the chance to see it again. I had only remembered bits and pieces of it at the time, but seeing it in my forties was no less mesmerizing.
Surfing through the channels last night, I came across a showing of the film on TCM. Unfortunately, I missed the first 20 minutes or so. But I couldn't resist watching the remainder of Something Wild. I came away with an even more resounding admiration for this bizarre foray into loneliness and despair. Carroll Baker's hauntingly nuanced performance was a revelation to behold. Ralph Meeker, an unappreciated actor for most of his career, gives a subdued but no less stellar a performance.
The story of a rape victim running from every memory of her horrible ordeal, only to attempt to take her own life, by jumping off the Manhattan Bridge. But a savior of sorts, played by Meeker, saves her just in time.These two aren't the only subjects to amaze your senses. The backdrop of New York City also plays a big role in the film. The great cinematography of NYC in the 1960's not only lends a gritty realism to Something Wild, but also made me nostalgic for my younger years. The conclusion of this cinematic gem might seem quite strange for some, but if you pay close attention, it is quite fitting. Look out for future T.V. moms Jean Stapleton ( Edith Bunker on All in the Family), and Doris Roberts, ( Marie Barone on Everybody Loves Raymond).
Something Wild is quite simply something special!!!!!!
Surfing through the channels last night, I came across a showing of the film on TCM. Unfortunately, I missed the first 20 minutes or so. But I couldn't resist watching the remainder of Something Wild. I came away with an even more resounding admiration for this bizarre foray into loneliness and despair. Carroll Baker's hauntingly nuanced performance was a revelation to behold. Ralph Meeker, an unappreciated actor for most of his career, gives a subdued but no less stellar a performance.
The story of a rape victim running from every memory of her horrible ordeal, only to attempt to take her own life, by jumping off the Manhattan Bridge. But a savior of sorts, played by Meeker, saves her just in time.These two aren't the only subjects to amaze your senses. The backdrop of New York City also plays a big role in the film. The great cinematography of NYC in the 1960's not only lends a gritty realism to Something Wild, but also made me nostalgic for my younger years. The conclusion of this cinematic gem might seem quite strange for some, but if you pay close attention, it is quite fitting. Look out for future T.V. moms Jean Stapleton ( Edith Bunker on All in the Family), and Doris Roberts, ( Marie Barone on Everybody Loves Raymond).
Something Wild is quite simply something special!!!!!!
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