The Wild and Wicked


1h 30m 1956

Brief Synopsis

Small town girl Nancy Sheridan arrives at the Hollywood bus station late at night and surprises her sister, Paula, at her apartment. Paula had written to her family that she works as a model, and is pleased to see Nancy until she learns that the rebellious girl wants to follow in her footsteps. Pa...

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Film Details

Also Known As
Dial 5683 for Love
Genre
Drama
Release Date
Jan 1956
Premiere Information
San Francisco opening: 17 Feb 1956; New York opening: 18 May 1956; Los Angeles opening: 15 Nov 1956
Production Company
Sonney Amusement Enterprises, Inc.
Distribution Company
Sonney Amusement Enterprises, Inc.
Country
United States

Technical Specs

Duration
1h 30m
Sound
Mono
Color
Black and White
Film Length
5,292ft (6 reels)

Synopsis

Small town girl Nancy Sheridan arrives at the Hollywood bus station late at night and surprises her sister, Paula, at her apartment. Paula had written to her family that she works as a model, and is pleased to see Nancy until she learns that the rebellious girl wants to follow in her footsteps. Paula tries to dissuade Nancy, insisting that her life is a sham, but instead of taking a bus home the next morning, as Paula had hoped, Nancy goes to the art school where she believes Paula works. There, she uses the pseudonym Nancy Walker, and is immediately hired by the manager, Barnes. Nancy poses nude for a group of male art students, and afterward, owner Sogel offers her a job at a private club called The Colony. Nancy, attracted to Sogel's description of the club's wealthy and sophisticated clientele, follows his directions to a remote area outside the city, where she is met by club manager Vito Perrini. Sogel has warned Perrini, who has a reputation for brutality, not to harm Nancy. After Nancy arrives at the all-male club, Perrini instructs her to participate in all activities, regardless of their nature, and to treat the guests well. Nancy shares a room with a co-worker named Easy and, unaware that she will be working as a prostitute, naïvely explains that she is inexperienced, but hopes to marry one of the wealthy members. Nancy and Easy are then summoned to the pool, where numerous women are mingling with male club members. While Easy flirts with her regular, Jones, Nancy is introduced to Barker, who asks to photograph her under the trees. When Barker tries to kiss Nancy, she slaps him, runs to her room, and calls the vice squad. Nancy reaches Lieut. Buchinsky and tells him she is trapped at The Colony, but is forced to hang up when Perrini enters and strikes her for her behavior. Perrini advises Nancy that she has no choice but to accept her situation as their permanent employee, or lose her life. A humbled Nancy apologizes to Barker and, wearing only a nightgown, joins him in his room for a drink. In time, Nancy enjoys her situation, and gloats over the gifts she receives. However, her roommate Easy is resentful and chafes at their poor treatment and restricted life. One evening, a drunken Jones insults Easy and she slaps him and leaves the room. The next day, Perrini tells her she is being transferred to work at their skid row hotel downtown. When Easy protests, Perrini beats her unconscious. Sogel drives up as Perrini's assistant, Joker, carries Easy to the car. Annoyed that Perrini is abusing his staff, Sogel reassigns him to be the new manager of the downtown hotel, and instructs him to take Easy there. However, Perrini runs a stop sign along the way and is pursued by police. He leaves the car in a remote area and fires at the policemen, who kill him in the ensuing gunfight, and rescue Easy. The injured Easy tells Buchinsky about The Colony and her mistreatment, and the officer arranges for a raid that night. Sogel, meanwhile, has sent for Paula to replace Easy, and she is shocked to discover her sister there. A defiant Nancy claims to love her work and be treated well. Paula reveals that her own apartment is paid for by Sogel and Perrini, and warns Nancy that in reality, she has nothing of her own. Later that night, Sogel introduces Paula to a client named Smith, who is intoxicated. Disgusted by her her degraded situation, Paula loses her temper and screams at both the prostitutes and the men, and calls Sogel a "flesh merchant." When Nancy tries to help, Sogel drags out both of the women, intending to kill them, but is prevented when police raid the club and arrest Sogel and his gang.

Photo Collections

The Wild and Wicked - Movie Poster
The Wild and Wicked - Movie Poster

Film Details

Also Known As
Dial 5683 for Love
Genre
Drama
Release Date
Jan 1956
Premiere Information
San Francisco opening: 17 Feb 1956; New York opening: 18 May 1956; Los Angeles opening: 15 Nov 1956
Production Company
Sonney Amusement Enterprises, Inc.
Distribution Company
Sonney Amusement Enterprises, Inc.
Country
United States

Technical Specs

Duration
1h 30m
Sound
Mono
Color
Black and White
Film Length
5,292ft (6 reels)

Articles

The Wild and Wicked


A tried and true exploitation gambit, for fly-by-night independents and Hollywood studios alike, has long been the girl-gone-wrong scenario - most often realized as the cautionary tale of a pretty young thing who ditches Middle America for a shot at fame and/or fortune in New York City or Los Angeles only to wind up enmeshed in a life of prostitution, pornography, or both. Made in the mid-Fifties, and serving as a linchpin of sorts between the roadhouse childbirth and VD movies of the Thirties and Forties, which purported to teach valuable life lessons while drawing in the rubes with the promise of wildfire carnality, and the later "nudie cuties" and "roughies" that predated outright porn, The Wild and Wicked (1956) takes a page (or two) from Warners' Marked Woman (1937) with the chronicle of a small town girl (Joy Reynolds), who joins her "fashion model" sister (Lisa Rack, assuming the Bette Davis role) in the big city, only to learn that a life of luxury and liberty is paid for one trick at a time.

Writer-director W. Merle Connell was a dab hand at the exploitation game, having already helmed the "sexposé" Test Tube Babies (1948), which worked a striptease into its purportedly clinical discourse on alternative parenting, and the amphetamine ring drama The Devil's Sleep (1949), which goosed its exploitation factor by casting Charlie Chaplin's ex-wife Lita Grey in a prominent role. As did most films in this idiom, The Wild and Wicked - which benefited from a number of retitlings, among them Dial 5683 for Love, Sex Club, and The Flesh Merchant - promised more than it could legally deliver but its barely feature length run time allowed distributors the discretion of adding nude inserts as a come-on for the black raincoat crowd. As a precursor of such acclaimed films on the subject as Louis Buñuel's Belle de Jour (1967) and John Schlesinger's Midnight Cowboy (1969), The Wild and Wicked was unique in offering a tainted protagonist who finds she enjoys selling her body to strangers and the attendant freedom that comes as a perquisite of sin.

Produced by second generation smut merchant Dan Sonney (whose father, Louis Sonney, was paterfamilias to "The First Family of Exploitation"), The Wild and Wicked was not likely to attract rave reviews. At the time of its theatrical release, The Los Angeles Mirror noted that the film's coterie of young actresses "show no evidence of ever having acted anywhere before but a few of the actors look like recent graduates of the Alcatraz Repertory Group." Another wag branded the production "amateurishly made and enacted... sheer paper-back trash aimed at the moron audiences always willing to part with a buck to gander something they think is on the seamy or 'dirty' side." The film's target audience was undeterred, of course, and The Wild and Wicked played grindhouses for years, under various alternate titles, and in countless alternate versions, before becoming a staple of the gray market VHS boom of the Eighties.

By Richard Harland Smith

Sources:

Bold! Daring! Shocking! True! A History of Exploitation Films, 1919-1959 by Eric Schaefer (Duke University Press Books, 1999)

Forbidden Film: The Golden Age of Exploitation Film by Brett Wood (Midnight Marquee Press, 1999)

From the Arthouse to the Grindhouse: High Brow and Low Brow Transgression in Cinema's First Century, edited by John Cline and Robert G. Weiner (Scarecrow Press, 2010)
The Wild And Wicked

The Wild and Wicked

A tried and true exploitation gambit, for fly-by-night independents and Hollywood studios alike, has long been the girl-gone-wrong scenario - most often realized as the cautionary tale of a pretty young thing who ditches Middle America for a shot at fame and/or fortune in New York City or Los Angeles only to wind up enmeshed in a life of prostitution, pornography, or both. Made in the mid-Fifties, and serving as a linchpin of sorts between the roadhouse childbirth and VD movies of the Thirties and Forties, which purported to teach valuable life lessons while drawing in the rubes with the promise of wildfire carnality, and the later "nudie cuties" and "roughies" that predated outright porn, The Wild and Wicked (1956) takes a page (or two) from Warners' Marked Woman (1937) with the chronicle of a small town girl (Joy Reynolds), who joins her "fashion model" sister (Lisa Rack, assuming the Bette Davis role) in the big city, only to learn that a life of luxury and liberty is paid for one trick at a time. Writer-director W. Merle Connell was a dab hand at the exploitation game, having already helmed the "sexposé" Test Tube Babies (1948), which worked a striptease into its purportedly clinical discourse on alternative parenting, and the amphetamine ring drama The Devil's Sleep (1949), which goosed its exploitation factor by casting Charlie Chaplin's ex-wife Lita Grey in a prominent role. As did most films in this idiom, The Wild and Wicked - which benefited from a number of retitlings, among them Dial 5683 for Love, Sex Club, and The Flesh Merchant - promised more than it could legally deliver but its barely feature length run time allowed distributors the discretion of adding nude inserts as a come-on for the black raincoat crowd. As a precursor of such acclaimed films on the subject as Louis Buñuel's Belle de Jour (1967) and John Schlesinger's Midnight Cowboy (1969), The Wild and Wicked was unique in offering a tainted protagonist who finds she enjoys selling her body to strangers and the attendant freedom that comes as a perquisite of sin. Produced by second generation smut merchant Dan Sonney (whose father, Louis Sonney, was paterfamilias to "The First Family of Exploitation"), The Wild and Wicked was not likely to attract rave reviews. At the time of its theatrical release, The Los Angeles Mirror noted that the film's coterie of young actresses "show no evidence of ever having acted anywhere before but a few of the actors look like recent graduates of the Alcatraz Repertory Group." Another wag branded the production "amateurishly made and enacted... sheer paper-back trash aimed at the moron audiences always willing to part with a buck to gander something they think is on the seamy or 'dirty' side." The film's target audience was undeterred, of course, and The Wild and Wicked played grindhouses for years, under various alternate titles, and in countless alternate versions, before becoming a staple of the gray market VHS boom of the Eighties. By Richard Harland Smith Sources: Bold! Daring! Shocking! True! A History of Exploitation Films, 1919-1959 by Eric Schaefer (Duke University Press Books, 1999) Forbidden Film: The Golden Age of Exploitation Film by Brett Wood (Midnight Marquee Press, 1999) From the Arthouse to the Grindhouse: High Brow and Low Brow Transgression in Cinema's First Century, edited by John Cline and Robert G. Weiner (Scarecrow Press, 2010)

Quotes

Trivia

Notes

The title of the viewed print was The Wild and Wicked, which was also a working title. Copyright records also list the additional alternate title of Dial 5683 for Love. Producer-director W. Merle Connell is also credited onscreen as the film editor. The Los Angeles Mirror review noted that "The ladies show no evidence of ever having acted anywhere before but a few of the actors look like recent graduates of the Alcatraz Repertory Group," and the The Exhibitor review added that the film "...is amateurishly made and enacted and is sheer paper-back trash aimed at the moron audiences always willing to part with a buck to gander something they think is on the seamy or 'dirty' side."