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Walk on the Wild Side

Walk on the Wild Side

Drama · 1962

At a 1930s New Orleans bordello, Hallie is the main attraction for both clients and the shrewd madam. The arrival of Dove Linkhorn, her lovesick sweetheart from three years ago, disrupts the normal and triggers a chain of events involving a number of people, including the young woman he travelled with, who is now the Doll House's newest employee.

Movie details

Walk on the Wild Side

“A side of life you never expected to see on the screen!”

1962 Drama 1h 54m

Critical arithmetic

One number, for now.

TMDB

6.6 / 10

Community rating

At a 1930s New Orleans bordello, Hallie is the main attraction for both clients and the shrewd madam. The arrival of Dove Linkhorn, her lovesick sweetheart from three years ago, disrupts the normal and triggers a chain of events involving a number of people, including the young woman he travelled with, who is now the Doll House's newest employee.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Walk on the Wild Side?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Anatomy of a Murder

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Crime · 1959

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Where it lives

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Names above the title

The people responsible.

Directed by

Edward Dmytryk

Written by

John Fante · Edmund Morris · Ben Hecht · Raphael Hayes

Laurence Harvey

Laurence Harvey

Dove Linkhorn

Capucine

Capucine

Hallie Gerard

Barbara Stanwyck

Barbara Stanwyck

Jo Courtney

Jane Fonda

Jane Fonda

Kitty Twist

Anne Baxter

Anne Baxter

Teresina Vidarverri

Joanna Moore

Joanna Moore

Miss Precious

Richard Rust

Richard Rust

Oliver

Court is in session

Put Walk on the Wild Side on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Popcorn Loyalist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.