The Wild Party (1975) User Reviews

Hollywood Babylon

[sol-kay · 6/10 · 28 January 2006]

**SPOILERS** Surviving from what happened in the wild party of the night before at comedy legend Jolly Grimm ,James Coco, mansion writer Jimmy Morrison, David Dukes, is laid up in his hospital bed recovering from a bullet wound in his neck. Jimmy is doing what he does best writing a screenplay about the terrible events that put him in the hospital and ended up taking the lives of two people, one a major screen heart-throb, at the party.

It all started when comedian Jolly Grimm who hadn't made a movie in years invited all the Hollywood big shot producers and a number of actors actresses, and hangers on, to his place to view his new film "Brother Jasper" that he hoped will re-start his fledgling career. Having had an amazing 27 hits in a row Grimm is now considered a has-been by the studios and hasn't been giving any staring parts in any of their major motion pictures. Grimm decided to go over their heads and make a movie that he stares in and and directed himself. Grimm still needs the Hollywood honchos to distribute his movie for it to reach the public and it's at the party that Grimm is throwing that he hopes to impress them in just doing that.

Tense and nervous the day before the big party Grimm takes it out on his live-in girlfriend Queenie, Requal Welch, who put up with his manic-depressive actions for years but now it seems that even she reached her breaking point with Grimm unable, or not wanting, to control his violent outbursts anymore that she's at the receiving end.

Showing Jimmy the movie "Brother Jasper" to get his professional opinion Grimm's told that the movie needs a number of changes or cuts, like a comedic cannibal scene,in what's supposed to be a heart-wrenching and serious film, that has poor Jimmy almost thrown out of the Grimm Mansion. With all the Hollywood illuminates showing up to see what Grimm hoped to be his masterpiece and the movie that would catapult him back on top of the weekly theater ticket receipts, and on the silver screen, things don't go as well as Grimm hoped in fact the party turns out to be a total and deadly disaster for him.

Loosely based on an incident about actor Fatty Arbuckle back in the 1920's when he was arrested and put on trial for the rape and murder of a young starlet that he invited to a drunken party, and orgy, of his. Arbuckle was found innocent but his career was finished and he died a poor and broken man some ten years later.

James Coco is at his best as the tragic Jolly Grimm who ends up not only losing any chance of getting back in the Hollywood limelight but also looses Queenie first to movie matinée idol Dale Sword, Perry King, and then ends up losing her life due to his jealous and uncountable rage. Grimm is not at all that much of a villain in the film "The Wild Party" he's more a victim of his own spectacular success.

Sweet and loving at first when he took Queenie off the street and gave her a place to stay, in his, mansion and put her in a number of his movies as well, as taking care off all her needs Grimm also treated Queenie as an equal not as someone who's totally dependent on him. It was only when his career started to fall apart that Grimm became an abusive swine towards her as well as everyone else.

With the party degenerating into an orgy free for all and Queenie leaving Grimm, by going off with Dale Sword, all by himself that the drinks and suspicions that were overwhelming his already fragile mind took control and Grimm lost it as well as lost what life and freedom that he still had left.

The possibilities were endless, but what's on the screen is muddled and dispiriting...

[moonspinner55 · 4/10 · 14 October 2005]

The combination of director James Ivory and his producing partner Ismail Merchant with sensual star Raquel Welch should have resulted in a dynamic art-house hit, but "The Wild Party" is a series of missed opportunities (you're more acutely aware of all the possibilities that went unrealized than you are gripped by what made it to the screen). Loosely based on the Fatty Arbuckle scandal, this is a well-intentioned, noble failure with James Coco playing a silent-screen star in early 1930s Hollywood who throws a bash to celebrate his comeback in talkies, but his big night goes awry. A.I.P. recut the film for its theatrical run to punch up the sex--which gave the pic something of a sullied reputation--however MGM has since restored Ivory's cut. Coco, Welch (as mistress Queenie), and Perry King (as another in his stable of studs) all do fine work, and some of the dialogue has snap. The film is certainly a curiosity, but Ivory's handling is plastic and his pacing and musical effects are colorless. *1/2 from ****

TRAINWRECK THAT I CAN'T STOP WATCHING

[germaniaosorio · 5/10 · 21 June 2021]

It's not a perfect movie, but the depicting of the crazy 1920s is convincing.

Jolly Grimm (James Coco) is a silent comic whose career is circling the drain. Nobody is interested in his celebrity and tries desperately to sell his last production. For that reason, he organizes a party at his mansion and invites la créme de la créme in Hollywood to close a deal.

Queenie (Raquel Welch), a former vaudeville dancer and singer, is his loyal lover. Grimm abuses her verbally and physically. He says he loves her, but unloads all his anger and frustration on her, especially when drunk. Long time ago, when Queenie was a young and starving starlet, he promised her a movie career, but in reality, he only gave her the job as his arm-candy and nothing else for fear of losing her. He even says that her only work is to look pretty and keep her mouth shut.

Dale Sword (Perry King) is the new kid in town, a dashing and handsome young actor who has taken Lalaland by assault with only one movie under his arm.

From then on, the movie takes a 180° turn from a sort of goofy musical to a very dark story.

To be honest, I watched this movie because I was interested in a young Perry King. I was surprised to know that his career wasn't only about Riptide or Class of 1984, but he had other interesting roles during the '70s like this one, directed by James Ivory.

The ending is a bit abrupt. Grimm would be the only character who's more rounded. You don't have time to feel sorry for Queenie or James Morrison (David Dukes), the narrator.

If it weren't for some scattered scenes near the end, it could be called "The Mild Party"!

[Poseidon-3 · 21 February 2005]

Loosely based on the 1920's film star Fatty Arbuckle scandal (in which he was tried, but acquitted of raping a young girl during a Hollywood party, resulting in the demise of his career), this is adapted from a narrative poem that has some similarities to Arbuckle, but notable differences as well. Dukes plays a writer who narrates the story from his hospital bed. He recounts the difficulty that his associate, silent film comedian Coco, has had in holding onto a career in the cinema business. Coco hasn't had a film released in five years and is throwing a huge bash in order to show his latest opus to various studio heads in the hopes that they will distribute it for him. Unfortunately for him, it's the dawn of sound and his film is silent. His live-in lover Welch is a grateful and loyal, but restless, sexpot who he mistreats regularly (and increasingly, as his career dwindles.) Together, Coco and Welch host this bash and soon find that the studio heads are more interested in other parties or in hooking up with loose women on the premises. King plays a hot new actor who's brought to the party by starlet Bolling, who is one of Welch's best friends. Once he eyes Welch, King can think of virtually nothing else the rest of the night. Meanwhile, Ferra, a teenage girl, has come to show Coco her talent in dancing, never dreaming of all the angst and drama unfolding in the house. Eventually, the party escalates into a near full-on orgy and the divergent personalities clash, ending in violence. Coco gives an extremely strong performance in one of his better roles. His desperation is palpable and he gets to show both his comic and dramatic skills through the framework of the film. Welch is attractive, but very plastic and anachronistic. She never seems genuine at any point in the film. Her character is supposed to be acting like a content and secure hostess, but Welch carries this facade throughout the entire film with only occasional lapses into realism. She also performs a couple of sexy, but largely inappropriate dance numbers. King provides a welcome does of male sex appeal. His angular features are a perfect contrast to the rotund Coco and he shows off his enticing physique in one key scene. Dukes, Bolling and Dano (as Coco's long-time chauffeur) do well in their respective roles as well. The biggest problem with the film is that nothing wild happens until it is almost over! The period costuming and decor are interesting and there are some good moments along the way, but the high-flying, wildness is not in evidence at all until over an hour into it. Then, when the debauchery starts, it is pretty tame all things considered (certainly compared to the REAL parties of 1920's and 1930's Hollywood!) Those familiar with the Arbuckle case may be expecting the story to take a different turn than it does. It's actually a pleasant surprise when things don't go exactly as one might be anticipating, but the major catalyst for the violence at the end isn't even shown! (A particular lovers tryst is only alluded to.) A whimsical score (with some clever songs), good acting by Coco and the attractiveness of Welch and King are the primary assets here. It's not bad, but it could have been much better.

Hollywood turns on its past - again

[mls4182 · 1/10 · 26 June 2021]

This time it is pointlessly painful. This movie is nothing but decadence and cynicism. There is no message and barely a script. I don't care how much you hate Racquel Welch's acting, no one wants to see a woman being abused. All James Coco does half the film is verbally abuse her and manhandle her. Brace yourself, there is far worse to come.

If you're dying to see beautiful Perry King and Raquel Welch in their physical prime, watch with the sound off and speed through to their scenes.

a different Merchant-Ivory

[SnoopyStyle · 7/10 · 18 August 2022]

It's 1929 and talkies are taking over. Veteran comedian Jolly Grimm (James Coco) is putting together a new silent film with his own money. It's an old style broad comedy. He's throwing a party but is having trouble gaining support for his film. He hopes to show the movie during the party and get some backing. He's afraid to lose his girlfriend Queenie (Raquel Welch) who catches the eye of hunky new leading man Dale Sword (Perry King).

This is a different Merchant-Ivory movie from their more famous 80's and 90's fare. They are still doing historical dramas but not necessarily this type. For most of it, I liked this movie and was surprised at the critical panning. The dark ugliness of Hollywood could be off-putting. I'm not a fan of the ending. It's often an easy out for a movie to end with gun fire. A better climax may be Jolly trying to get into the Pickford party and refused entry. All in all, I like this as one of many takedown of Hollywood people.

A Depressing and Disappointing Film

[Uriah43 · 2/10 · 28 August 2020]

With the advent of newer technology an extremely successful silent-film actor by the name of "Jolly Grimm" (James Coco) has fallen upon hard times and has become quite depressed as a result. So together with his live-in girlfriend "Queenie" (Racquel Welch) they invite everyone with any clout in Hollywood to their mansion to view his latest work which he hopes will revitalize his career. What Jolly doesn't understand is that the times have passed him by and having lost a great deal of prestige and influence it will take much more flexibility and understanding on his part to handle the situation. Now rather than reveal any more I will just say that I thought Racquel Welch put on an excellent performance and demonstrated her abilities quite nicely. Likewise, I also thought James Coco performed rather well despite being somewhat miscast in his particular role as it just didn't fit his screen persona. Aside from that, the film itself suffered from poor directing and a very convoluted plot with the orgy scene at the end being particularly disgusting. That being said, had it not been for both of the aforementioned actors I would have rated this film even lower as it was a depressing and disappointing film.

Pretty good depiction of Hollywood decadence!

[cfc_can · 7/10 · 13 November 2000]

The Wild Party is probably based on several wild parties and scandals which took place during Hollywood's silent era when movie stars could do almost anything they wanted behind closed doors without having to worry too much of exposure as there were no real tabloid magazines at the time. James Coco plays a washed-up, silent movie comic who throws a wild party at his home, thinking it will save his career but doesn't count on the extent of depravity of some of his guests. At times, the film is highly realistic and makes you wonder about current Hollywood parties and what really goes on between co-stars. The film has a great 1920's look and the music also adds to the feel. The film is hard to define. It's sort of a historical drama, crossed with black comedy but a pretty good one at that.

Unintentionally hilarious!!!

[edwardholub · 2/10 · 25 June 2005]

One critic said it never had a release in the states which is wrong. I saw it in a theater in Princeton, N.J. It was long before the Merchant/Ivory rep kicked in. James Coco was probably the closest they could come to a Fatty Arbuckle look-a-like, but his performance is miserable. When he realizes that he has no backers for his new film and his mistress Queenie has run off with Perry King, he stands on the landing of his staircase and drunkenly berates the remaining guests at his party. The funny thing is that the camera never moves, nor are there any cutaways from him. He just goes on and on when someone should have yelled cut. Raquel Welch's musical numbers were, I suppose, meant to entice lusty revelry among the guests, but she's not that talented. Leave that sort of thing to Mae West. The whole project smacks of Golan-Globus amateur theatrics. Bad writing, bad acting, bad lighting, bad cinematography.

Some highs, some lows

[JohnSeal · 6/10 · 24 April 2006]

This is an interesting and ambitious feature that has much to recommend it--and a fair number of strikes against it, too. On the credit side, James Coco is outstanding in the lead role of Jolly Grimm, an aging screen comic desperate to make a comeback. He's ably supported by David Dukes as his straight arrow screen collaborator and especially by Royal Dano as his lanky and loyal personal assistant. The story is simple but interesting, the silent film footage of Brother Jasper expertly mounted, and there's an eerily effective and almost otherworldly performance by the unheralded Annette Ferra as an ambitious young dancer.

And now for the not so good news: despite a praiseworthy attempt to drape this in Roaring '20s ambiance, a few too many 1970s anachronisms--clothing wise and hairstyle wise--creep distractingly into the background, the original songs are generally mediocre, and the sensational sex scenes are gratuitous at best. The result is a somewhat schizophrenic production that uneasily tries to balance a serious story with five minutes of over the top group grope scenes which will offend some and disappoint others. There's enough here to render these scenes superfluous, but even with their inclusion the film remains a fine character study that will hold the attention of those interested in the history--apocryphal or otherwise--of early Hollywood.

If you like the poem, don't bother

[tnilfo · 2/10 · 24 November 2009]

Raquel Welch is heavenly but her acting abilities sadly don't match up to the exquisite quality of her legs. To be honest I didn't finish this film. The Fatty Arbunkle-inspired main character was extremely unpleasant, angry and bitter and violent, and I just couldn't stand the thought of spending another hour watching him. Might have been able to endure him had the actor playing the part had a little ability and/or charisma. If you're like me and thinking about viewing the film after reading the wonderful source poem, don't bother. The original work is so visual, so tightly strung, it's hard to imagine how they might screw up a film adaptation, but they managed to do it. It seems Merchant/Ivory made several steamy piles before they finally found their style ("Savages" is equally awful).

the wild party

[mossgrymk · 8/10 · 26 September 2022]

I wish to dissent from the majority of my IMDB colleagues below and say that I found this bit of road not taken-ism quite interesting. Referring ,of course, to the fact that, based on this film, had James Ivory not chosen to become the American Alistair Cooke he could well have become the American Ken Russell. In other words, a nice dip into the Hollywood Babylon/Valentino pool with a fine performance by James Coco as a character based on the life of Fatty A (thankfully, sans coke bottle) and the best dramatic work Raquel W has ever done (KC Bomber fans'll disagree but they can go piss on a roller skate).' Coulda done without the unmemorable poetry and even more unmemorable songs but, all in all, I was affected by the pathetic fates of Jolly and Queenie. Give it a B.

Raquel Welch the best thing in this movie

[smatysia · 6/10 · 12 July 2015]

(Very) loosely based on the Fatty Arbuckle scandal from circa 1921, this film is set in 1929, and based on a poem from that era, which I have not read, a few lines of which are voiced over in the film. James Coco's character was very annoying. This is not really criticism, because that was obviously intentional. Perry King played his part as melodramatically as a scene from the times. Royal Dano was excellent as befits his long and distinguished career as a character actor.

It has been a long time since I have seen a film with Raquel Welch. She was long mocked back in the day (before silicone) as just a big pair of boobs, but I found her performance compelling, and the best part of this movie.

Ugh - for Rachel welch

[angeladavis49 · 4/10 · 30 November 2021]

The only reason I gave this horrible movie a rating at all was for gorgeous Perry King. In the movie Welch was so icky sweet and then I read how awful she was to everyone while making this movie, with her huge ego trying to get the directors fired and her boyfriend to replace them, which was ridiculous, and even Perry King for doing what the director told him to do instead of what she said (She didn't want her hair messed up during the love scene.) She quit and was made to come back but demanded an apology from the directors for "embarrassing her". I had to grit my teeth at her every scene. Her acting and singing were cringe worthy. I couldnt help but think how hard it must have been for Perry king to have to do his scenes with her. I had no idea what kind of pathetic, insecure person she was. The ugh title I gave this was mostly for her but also the movie. Only enjoyed the Perry king scenes. I think she must have made them agree not to even have the love scene, you only saw Perry king getting out of bed. Watch only if you like Perry king and can stomach a diva actress.

very good though not widely seen

[theeht · 6 August 2004]

Unforgettable, very well done depticition of decadent 1920s Hollywood. Raquel Welch is superb as the desperate, sweet mistress of a deeply disturbed overweight and washed up comic named Jolly Grimm, ably played by James Coco. To resuscitate his career, Jolly throws a party that ends in tragedy. Very loosley based on Fatty Arbuckles story, this unforgettable and devastating film features fine support from Perry King as a Valentiniesque actor, and especailly from Miss Tiffany Bolling, as a lovely but unhappy film starlet. All in all, a class A effort that should have gotten a better recption at the time, but may well emerge as a cult classic. It is newly released on DVD , which should add to the fine film.

American International tries to do class

[marcslope · 5/10 · 15 October 2012]

The famous poem of the 1920s becomes an ambitious meeting of American International and Merchant-Ivory, who sink into a most un-Merchant-Ivory-like Hollywood orgy in this tale suggested by, but not actually dramatizing, the Fatty Arbuckle scandal that ruined his career. With a screenplay and songs by Broadway songwriter Walter Marks, it seems to lick its lips at all prospects for lasciviousness, reveling in the bare breasts and spent drunken bodies the morning after. The songs are OK, and James Coco's excellent, carefully indicating the conflicting warmth, selfishness, and desperation in Jolly Grimm. But Raquel Welch feels anachronistic, not convincingly of the Twenties, and her singing and dancing are at best proficient. It's a messy movie, the plot threads not really hanging together, and the trendy camera-work belongs to 1975 and 1975 only. Let's call it an interesting failure.

Sin City by the sunny sea.

[mark.waltz · 5/10 · 2 March 2023]

Definitely one of the most fascinating bad movies ever, certainly better than "Myra Breckenridge" and "Beyond the Valley of the Dolls", and definitely a notch above because it is less crude. Who would believe that the man who produced all of those beach party movies and Vincent Price horror films of the '60s would mix with James Ivory, best known for dozens of classy literary films in the '80s and '90s. The 1920's poem (later the subject of two musical plays) gets a colorful, lavish production, and has a fascinating nearly award-worthy performance by James Coco as a Fatty Arbuckle like silent comic who is all of a sudden engulfed in scandal as a result of the gauch bash he throws at his audacious Hollywood Hills mansion. Raquel Welch is his not quite devoted mistress, sticking around because of the possible fame and contacts it gives her, and the notoriety she will end up with.

It's obvious that they put some thought into the silent films within the film, and there are some musical moments that are quite nice as well. I did feel like I was back in this period, the late 1920's, with Perry King and Royal Dano great in support and some fun character performances by familiar faces such as Dena Dietrich and Bobo Lewis. In spite of the perfect physical detail however, the film seems misguided in the direction that it takes, and perhaps that is the fault of what happened in the editing room. The sum of its parts is a mix of negative and positive, and Coco gets the best chance to sink his teeth into probably the only well written character, someone who certainly is deserving of sympathy. Welch, who apparently was very difficult at least as far as the director was concerned, seems to just be walking through her part without any real enthusiasm but it's definitely lovely to look at.

The nostalgia craze of the 1970's definitely had its hits and misses, and for me, this is a bittersweet miss that I give a higher rating to admitting that it probably didn't deserve it, but it truly is enjoyable to watch even though it's just missing the element of greatness that somehow is eluded in the final product. I'll always remember the helicopter shot of the town car driving through the hills with the ocean in the distance, an unforgettable sight.

Simply Awful

[riprussell-official · 1/10 · 22 May 2006]

Something tells me that the story of how this movie even got made is more interesting than what ends up on the screen. Surely, when matching low-budget exploitation producer Samuel Z. Arkoff with the future-classic producing/directing team Merchant/Ivory, something odd must have occurred. Nothing, and I mean nothing about this 1975 film, based on the infamous Fatty Arbuckle scandal, works. The film, sadly, exists to new audiences as a cautionary signpost marking Zarkoff's failed attempt to move toward legitimate mainstream film-making. He should have stuck to his bread-and-butter tripe (such as "The Beast With a Million Eyes").

Here we have tubby James Coco (with over-the-title billing!) throwing a party to lure members of silent-era Hollywood moguls to distribute his self-financed Opus. Complete with songs by the (terribly melodramatic) Raquel Welch, the film sinks deeper and deeper in to awkward, self-indulgent pathos. Poorly acted, directed and designed (with cheaply dressed sets and awful original "period" songs in the background), this film is one to be missed at all costs. Perhaps one day, the true secret to this film's odd conception will be revealed, and it will make some sense. Until then, perhaps a potential viewer would be better off reading a book.

Very Disappointed

[garyldibert · 3/10 · 22 January 2008]

I bought this because Raquel Welch was in it. Every movie that I have of here's which is about 17 she was always gorgeous and beautiful except this one. She wasn't bad in this picture but with her beauty, she shouldn't have been in this movie in the first place. I loss interest in this movie as soon as the person said the year 1920. This movie told you how a movie stars to get his life back once they have been found. However, how could you waste the beauty and the talent of Raquel Welch in a movie like this? Raquel body is far better serve on beach scenes and watching walk around the beaches in those short and lovely bikinis. I'm sorry Raquel but I can't give this movie anything more then 3 weasel stars. You and your talent were wasted in this movie and the only reason I gave it 3 weasel stars was because your name was in it.

Worst Ivory-Merchant Film

[drednm · 26 March 2018]

The worst Ivory-Merchant film I've seen is THE WILD PARTY, very loosely based on the Roscoe Arbuckle scandal. More specifically it's based on a hideously maudlin poem by Joseph Moncure March published in 1928. The Ivory-Merchant team so famous for its impeccable period detail in any number of films totally flops in capturing the 1929 Holly glam look. What they did capture is the 1975 look. James Coco stars as Jolly Grimm, a washed up silent film comic hoping for a comeback in his latest and self-backed film on the life of Brother Juniper. His live-in girlfriend and former extra is played by Raquel Welch. She gets to sing and dance to one of the film's many horrid songs. Perry King plays a flashy new film star, Tiffany Bolling plays his jaded party date, Bobo Lewis plays the maid, Royal Dano plays Tex the former stuntman, David Dukes plays the guy who writes the poem. The majority of the cast is unrecognizable. The story hits of just about every stereotype. There's the Valentino type, a vamp who's really a lesbian, studio heads with thick Euro accents, and worst of all is the little puke who'll do anything to get into the movies so she crashes the party and does an Isadora dance draped in dish towels.

Everything is wrong although there could have been a decent movie with James Coco and none of the rest of the cast. The costumes are all wrong as is the women's hair and makeup. The several songs are the type that Paul Williams used to sing with that gag-worthy diction of his. There are also lots of clips of Coco playing Brother Juniper in the silent movie. As the cannibals trap him and lead him to the giant cauldron, Juniper says..... "You can't boil me. I'm a friar!" And that's the high point of the film.

Not Wild Enough

[bcrumpacker · 11 January 2006]

SPOILER ALERT The then new Merchant Ivory team made some odd choices for this remake portrayal of old Hollywood decadence. It was shot at the Mission Inn in Riverside, California, a beautiful old mission style high end hotel. (The Nixons spent their honeymoon there.) So the production design and costumes are gorgeous, if dimly lit.

The late James Coco shows impressive range and talent as the jealous clown protagonist who hits rock bottom in front of everyone. For the record, Fatty Arbuckle, upon whom Coco's character was based, was much younger and more physically impressive.

Raquel Welch was at her peak, but she has a rather poorly written role. This is one of her many weird films; see, e.g. Myra Breckinridge.

Somebody, someday will film an orgy and make it look good and inviting, instead of the sweaty, nauseating nightmare here. Despite these complaints, the performances and production values hold up surprisingly well thirty years later. Worth a look.

The Wild Disaster

[paulfrancis6189 · 5 December 2006]

This is with out a doubt the worst movie I have ever seen. Plastic characters spewing the most amazingly bad dialog imaginable. If Ed Wood had still been directing in the 70's, this could have been his masterpiece. I am still surprised that Perry King and Raquel Welch did not pool their funds to buy out every print, so they could be spared the embarrassment of the general public seeing the most laughable dance sequence ever put on celluloid. It is especially sad to think that this was a big movie for James Coco. His true comedic talents were totally wasted in this mess of a film. The film is so unbelievably bad that I am surprised that it has not reached some sort of "cult film" status. It should be played at midnight at art house all over the US. It would bring screams of laughter from everyone in the audience. Maybe John Waters should do the re-make?