Pelos Bairros do Vício

Título original: Walk on the Wild Side

1962
Approved
1 h 54 min

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Adicionar um enredo no seu idiomaPoor lovesick white-trash Dove Linkhorn arrives in New Orleans searching for his former girlfriend Hallie Gerard, an artist who works in The Doll House brothel, whose madam Jo Courtney consi... Ler tudoPoor lovesick white-trash Dove Linkhorn arrives in New Orleans searching for his former girlfriend Hallie Gerard, an artist who works in The Doll House brothel, whose madam Jo Courtney considers her girls to be her property.Poor lovesick white-trash Dove Linkhorn arrives in New Orleans searching for his former girlfriend Hallie Gerard, an artist who works in The Doll House brothel, whose madam Jo Courtney considers her girls to be her property.

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AVALIAÇÃO DA IMDb

6,7/10

3,1 mil

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Veja as informações de produção no IMDbPro

Indicado a 1 Oscar
- 1 indicação no total

Curiosidades
Several contemporary reviewers mentioned that, although the film was set in the 1930s, Capucine seemed to be wearing contemporary (1962) fashions. Director Edward Dmytryk stated that it was because she was the "protégé" (i.e., live-in girlfriend) of producer Charles K. Feldman, who decreed that, despite the film's 1930s setting, she would be dressed in the latest Pierre Cardin designs.

Erros de gravação
The jukebox in Teresina's diner is a Wurlitzer model 1015. The 1015 was a post-war model produced from 1946 through 1947 and would not have been seen in the Depression.

Citações
Preacher: Jezebel! That's right, I mean you! Now both of you sinners are hurrying past.
Dove Linkhorn: You got no business with us mister.
Preacher: Oh, sinners is my business. You and that hip-slinging daughter of Satan. You know there's the smell of sulfur and brimstone about you. The smell of hellfire.
Dove Linkhorn: Who ordained preacher?
Preacher: I am self-ordained son; I had the call.
Dove Linkhorn: You were called by the wrong voice mister.
Preacher: Lord strike this sinner down. Send a bolt down to smite and consume the blasphemer now!
Dove Linkhorn: He won't hear you. Cause you no friend of God or man - standing there hollering hate to the world. God is love. God is mercy and forgiveness. Try preaching that sometime Mr. Preacher. Teach people to forgive, not to crawl in fear. Teach people to love, not hate. preach the good book - preach the truth.

Cenas durante ou pós-créditos
The opening and closing credits are shown tracking a black cat as it prowls an urban landscape. The closing credits feature a newspaper reporting the Doll House residents' arrest and conviction.

Conexões
Edited into Bass on Titles (1982)

Trilhas sonoras
Walk on the Wild Side
(uncredited)
Music by Elmer Bernstein
Lyrics by Mack David
Sung by Brook Benton
[Played as Hallie walks down to the first party shown at the Doll House]

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Avaliação em destaque

6/10

The Big Tease In The Big Easy

This film has a dynamite opening. A real life black cat prowls around a maze of pipes and fences, as Elmer Bernstein's jazzy musical score blares out the film's title song, a haunting invocation to low life everywhere.

Throughout, both the music and the B&W cinematography evoke a noirish, downbeat mood totally in sync with the film's theme of embittered sleaze. Although set in the 1930's, the film looks and sounds more like something from the hip, "beat" generation of the 1950's. And I'm comfortable with that.

What I'm not comfortable with is the casting and the screenplay. Lithuanian born Laurence Harvey is totally not convincing as a Texas tramp. French born Capucine, looking like she just walked in from the set of "La Dolce Vita", seems lost in the role of a Southern belle. A somewhat inexperienced Jane Fonda overacts the role of Kitty Twist. And American Anne Baxter, looking more like Suzanne Pleshette than Anne Baxter, plays a Mexican senorita, with the help of a big wig. Among the major roles, the only credible cast member is Barbara Stanwyck, as the bossy owner of the Doll House, your typical red light house of prostitution.

The film's red light title is a big tease. It advertises brothel life, but the screenplay delivers only boredom and preachy morality. But in 1962 the moralistic Hays Code still exerted influence on what Hollywood could say and show. The result here is a yellow light plot that merely hints at sleaze.

Forty years after its release, "Walk On The Wild Side" does have entertainment value, both as a curious period piece, and as a sudsy soap opera with some campy dialogue, helped along by the always engaging Barbara Stanwyck.