This 1975 Merchant Ivory Production was distributed in the United States of America by (of all studios) American International Pictures. MIP and AIP: an odd couple, to say the least. Getting, perhaps, too big for its britches in its bid for "respectability," The House of Poe, Beach Parties, and Biker flicks ruinously edited the movie fashioned by director James Ivory, producer Ismail Merchant, and writer Walter Marks, succeeding in only becoming a party pooper.
Synopsis: Silent movie clown Jolly Grimm (James Coco) throws a Hollywood party to sell his comeback comedy Brother Jasper. Unfortunately for him (and others), the party disastrously ends in tragedy.
Its critical drubbing and commercial failure notwithstanding, I enjoy The Wild Party. James Coco effectively delivered a dramatic performance of a "funny man" with a contradictory name that describes and defines his dual disposition. As Queenie, the fortunate and unfortunate recipient of the mercurial Grimm's charity and cruelty, Raquel Welch does not disgrace herself but is not helped by the filmmakers who have her sing an, to me, inferior and disposable song. According to accounts by Ivory and Bolling, the tempestuous Welch was "a very, very difficult actress to work with," clashing with her director, the producer, and co-stars, and even walking off sets . . . more than once.
Writer Walter Marks loosely based his screenplay on the notorious Fatty Arbuckle scandal and the controversial poem The Wild Party written by James Moncure March. David Dukes, as writer James Morrison, recites a few lines from March's poem as narration.
One knock against The Wild Party is that it is not wild enough, failing to capture the decadent, sybaritic tone and spirit of March's ode to hedonism. However, I think, the filmmakers succeeded in staying faithful to March's poem during, for me, the highlight of the movie. Framed by torrid love-making between two osculatory lesbians, the vignette takes the audience on an erotic journey through bedrooms filled with entwined nude bodies writhing and undulating (". . . like a can of worms") as the crooning (uncredited) vocalist conspiratorially celebrates the lusty bacchanal, coaxing listeners "Ain't Nothin' But About Feelin' Good".
Some look down and frown on huggin' and squeezin'
That's because their hearts have not understood
That nothing can be wrong as long as it's pleasin'
Here's the reason
Ain't nothin' bad about feelin' good
That's because their hearts have not understood
That nothing can be wrong as long as it's pleasin'
Here's the reason
Ain't nothin' bad about feelin' good
I attended the party on Screenpix. But you can join the party right here.
Art Spiegelman on the poem The Wild Party
A Cautionary Tale for the New Roaring Twenties