Most likely a victim of short-sighted music licensing agreements, The Wild Life remains m.i.a. on DVD shelves nearly 15 years into the format's lifespan. "Even faster" than Fast Times at Ridgemont High, The Wild Life was written by Fast Times scribe Cameron Crowe and directed by Art Linson, who produced the earlier film. Something of a quasi-sequel to Fast Times, its primary protagonist is Bill Conrad (Fast Times alumnus Eric Stoltz), a recent Los Angeles-area high school grad whose main goal within the film's timeline is moving into and maintaining an apartment in a singles complex (managed, incidentally, by the late, great Robert Ridgely). Problems arise when Bill can't make rent on his own and must enlist a roommate (a wild Christopher Penn) to share the burden.
The film famously--or, in the minds of most critics in 1984, infamously--co-stars Christopher Penn as wrestling star, party animal, and all around goofball Tom Drake. At the time, most observers couldn't get past the fact that Penn's role was a rather transparent attempt to create another Jeff Spicoli, the character made legendary by older brother Sean in Fast Times. No, Drake is no Spicoli or Blutarsky, and his "It's casual" catchphrase did not enter the lexicon as "Hey bud, let's party" did, but Chris Penn brings a great energy to the part and gets laughs from me whenever I revisit the film.
With this film, veteran producer Linson makes one of only two trips behind the camera (earlier helming Where the Buffalo Roam) and I can't help but think that he came into to replace another director...Crowe, perhaps? Since the film is rarely mentioned by Crowe or any of the principals, which also include Lea Thompson, Ilan Mitchell-Smith, and Jenny Wright, production back-stories are scant. By no means a classic, The Wild Life, like its predecessor, does boast a fine acting ensemble (more great work from Fast Times casting director Don Phillips) with Hart Bochner, Rick Moranis, Randy Quaid, the aforementioned Ridgely, Sherilyn Fenn, Michael Bowen, Ben Stein, Jack Kehoe, Fear frontman and '80s stalwart Lee Ving, Predator Kevin Peter Hall, and Tony Montana "yes man" Angel Salazar ("Tony, open the door!!!") filling out the cast. They're thrust into many stock situations, culminating with the type of house party blowout that featured in so many teen comedies of the time. Much of what seemed very fresh just two years earlier with Fast Times, is decidedly less revelatory here, with an air of been there done that.
That's not to say there aren't some very original creations in Crowe's script with Mitchell-Smith's Vietnam-obsessed teen taking top prize in this category. In a plot development that would probably have current studio execs nervous, Mitchell-Smith and his sidekick (Brin Berliner) visit the decrepit pad of a Vietnam vet (Randy Quaid) more than likely suffering from PTSD. In what may be the film's most affecting and effective moment, Quaid tells the kid in no uncertain terms that he's lucky to have missed Vietnam and to appreciate the preservation of his average suburban existence. I have to believe that Mitchell-Smith's Jim Conrad is inspired by the late Chris Penn's own teenage years, a time in which he soaked up any and all Vietnam minutia he could while making a Vietnam-set Super 8 film (said film featured boyhood pals Charlie Sheen and Emilio Estevez in its cast). Sadly, the world lost the youngest Penn way too soon...based on the bulk of his performances and his youthful forays into filmmaking, it's clear he had a lot more to offer, more than he was usually given credit for anyway.
The soundtrack that is most likely keeping The Wild Life from DVD and Blu-ray includes an entirely original instrumental score by Eddie Van Halen (with music that foreshadows some future tunes such as "Right Now") and pop songs by Madonna, Buffalo Springfield, Billy Idol, Human League, Bananarama, Steppenwolf, Huey Lewis and the News, Peter Case, The Three O'Clock, Little Richard, and others. Earlier home video versions omitted some of these songs, as many MCA / Universal releases of the era were wont to do, and had a "Home Video Version" tag printed on the back cover. The original theatrical version has aired on Encore in recent years, however.
It's no Fast Times and, in fact, it ain't faster, clocking in a full six minutes longer, but for those '80s nostalgists, like me, who prefer to see the decade through a non-Hughes prism, The Wild Life remains essential viewing...if you can get a hold of it.
The film famously--or, in the minds of most critics in 1984, infamously--co-stars Christopher Penn as wrestling star, party animal, and all around goofball Tom Drake. At the time, most observers couldn't get past the fact that Penn's role was a rather transparent attempt to create another Jeff Spicoli, the character made legendary by older brother Sean in Fast Times. No, Drake is no Spicoli or Blutarsky, and his "It's casual" catchphrase did not enter the lexicon as "Hey bud, let's party" did, but Chris Penn brings a great energy to the part and gets laughs from me whenever I revisit the film.
With this film, veteran producer Linson makes one of only two trips behind the camera (earlier helming Where the Buffalo Roam) and I can't help but think that he came into to replace another director...Crowe, perhaps? Since the film is rarely mentioned by Crowe or any of the principals, which also include Lea Thompson, Ilan Mitchell-Smith, and Jenny Wright, production back-stories are scant. By no means a classic, The Wild Life, like its predecessor, does boast a fine acting ensemble (more great work from Fast Times casting director Don Phillips) with Hart Bochner, Rick Moranis, Randy Quaid, the aforementioned Ridgely, Sherilyn Fenn, Michael Bowen, Ben Stein, Jack Kehoe, Fear frontman and '80s stalwart Lee Ving, Predator Kevin Peter Hall, and Tony Montana "yes man" Angel Salazar ("Tony, open the door!!!") filling out the cast. They're thrust into many stock situations, culminating with the type of house party blowout that featured in so many teen comedies of the time. Much of what seemed very fresh just two years earlier with Fast Times, is decidedly less revelatory here, with an air of been there done that.
That's not to say there aren't some very original creations in Crowe's script with Mitchell-Smith's Vietnam-obsessed teen taking top prize in this category. In a plot development that would probably have current studio execs nervous, Mitchell-Smith and his sidekick (Brin Berliner) visit the decrepit pad of a Vietnam vet (Randy Quaid) more than likely suffering from PTSD. In what may be the film's most affecting and effective moment, Quaid tells the kid in no uncertain terms that he's lucky to have missed Vietnam and to appreciate the preservation of his average suburban existence. I have to believe that Mitchell-Smith's Jim Conrad is inspired by the late Chris Penn's own teenage years, a time in which he soaked up any and all Vietnam minutia he could while making a Vietnam-set Super 8 film (said film featured boyhood pals Charlie Sheen and Emilio Estevez in its cast). Sadly, the world lost the youngest Penn way too soon...based on the bulk of his performances and his youthful forays into filmmaking, it's clear he had a lot more to offer, more than he was usually given credit for anyway.
The soundtrack that is most likely keeping The Wild Life from DVD and Blu-ray includes an entirely original instrumental score by Eddie Van Halen (with music that foreshadows some future tunes such as "Right Now") and pop songs by Madonna, Buffalo Springfield, Billy Idol, Human League, Bananarama, Steppenwolf, Huey Lewis and the News, Peter Case, The Three O'Clock, Little Richard, and others. Earlier home video versions omitted some of these songs, as many MCA / Universal releases of the era were wont to do, and had a "Home Video Version" tag printed on the back cover. The original theatrical version has aired on Encore in recent years, however.
Chris Penn with then girlfriend Sherilyn Fenn in May '84.
It's no Fast Times and, in fact, it ain't faster, clocking in a full six minutes longer, but for those '80s nostalgists, like me, who prefer to see the decade through a non-Hughes prism, The Wild Life remains essential viewing...if you can get a hold of it.
