User reviews

"Wild Angels" was the first of the American International biker pictures, which were a drive-in staple of the late 60's and early 70's. Coming almost a generation after "The Wild Ones" these films were enjoyed by anyone who enjoyed a beer-assisted drive-in fantasy about being an outlaw biker for a few hours (they usually played as double features). It was a big game of lets pretend.

And like "Wild In the Streets" much of the appeal was the fear and disgust these things elicited from parents; as they were the only ones who actually took any of the stuff seriously. Many a Peter Fonda poster from "Wild Angels" went up on bedroom walls as parents pondered where they had gone wrong.

The gang in "Wild Angels" did not wear Hells Angels colors, they were "Angels-San Pedro" although some Hells Angels from the Long Beach chapter actually appeared in the film. AI's biker films had very colorful titles and often mentioned Hell or Angels in the title: "Devils Angels", "The Born Losers", "The Savage Seven", "The Mini-Skirt Mob", "Angels from Hell", "Hells Angels 69", "Hells Belles", and "The Hard Ride".

"Wild Angels" was ground-breaking stuff when it was released and featured more Nazi stuff than the later films because once the surfers adopted the Iron Cross it was no longer cool. It broke the outrage meter with its finale as the funeral for The Loser (Bruce Dern) turned into a gang-bang of his widow (Diane Ladd), the destruction of the chapel, the assault of the minister, the abuse of the corpse, and a rumble with the outraged townspeople. And throw in some drug use.

Roger Corman's direction is his most active ever, and the editing by Monte Hellman keeps the pace moving along. You don't notice until it is over that very little actually happened. Fonda is super cool and Nancy Sinatra is unintentionally hilarious. Michael J. Pollard and Gayle Hunnicutt are instantly recognizable in supporting roles. Mike Curb's score is high-lighted by Davie Allan and the Arrows' hit "Blues' Theme."

Then again, what do I know? I'm only a child.

I first saw this show in '66 when I was a cycle rider myself. I liked it so much that I went to see it twice. Even liked the music. After watching it again over 30 years later, I have to ask myself just what it was that I found so appealing about the film. It was corny, overacted, sometimes badly acted, and it had a juvenile storyline. I guess what I liked about it back then was all the motorcycles. Good to see that Peter Fonda has improved with age.

Legendary b-grade producer/director Roger Corman had a hand in many bad movies, and some very good ones. He also made several in between, trashy but fun. 'The Wild Angels' is probably the best known of these. While Brando and 'The Wild One' caused a lot of waves in the 1950s, this is the movie which single handedly kicked off the highly lucrative biker movie cycle of the 1960s/70s ('The Cycle Savages', 'The Rebel Rousers', 'Hells Angels On Wheels', 'The Savage Seven', 'The Glory Stompers', 'Angel Unchained', and countless others). It also was an important step on the road to counter culture classic 'Easy Rider'. In fact more than one person has made the connection that 'The Wild Angels' plus Corman's psychedelic propaganda movie 'The Trip' equals 'Easy Rider'. Peter Fonda ('Easy Rider', 'Dirty Mary, Crazy Larry') plays biker leader Heavenly Blues and in doing so Fonda creates the on screen persona he would pretty much stick with for the next ten years or so. His performance is laid back and cool, or wooden and dull, depending on your perspective, but it certainly suits the character and the movie. The only time he really gets passionate is in his legendary speech in the church scene ("We wanna be free to ride our machines without being hassled by The Man! And we wanna get loaded!"), later inspiration for Mudhoney and Primal Scream. Bruce Dern ('Bloody Mama', 'Silent Running') plays Fonda's doomed sidekick Loser. Now Dern is one of the most underrated actors of this era and is always compelling to watch. He and Fonda make a great team, and I always associate them together in my mind, but surprisingly they only made two movies together, this one and 'The Trip' the following year. Dern's old lady is played by his then wife Diane Ladd ('Wild At Heart'). Fonda's is none other than Nancy Sinatra! Michael J. Pollard, soon to appear in 'Bonnie And Clyde', plays Pigmy, one of Fonda and Derb's biker buddies, and being a Corman movie the legendary Dick Miller ('A Bucket Of Blood', 'The Terror') has a memorable bit part. Also keep an eye out for the beautiful Gayle Hunnicutt, later to co-star in 'The Legend Of Hell House'. Corman produced and directed this movie, Charles B. Griffith ('Death Race 2000') scripted, Monte Hellman ('Two-Lane Blacktop') was the editor, and Peter Bogdanovich ('The Last Picture Show') is credited as Corman's assistant, but apparently did a little bit of everything. On top of this there is a fantastic fuzz guitar theme performed by the ultra-cool Davie Allan. 'The Wild Angels' is trash, but well made and very entertaining trash, and is absolutely essential viewing for all cult movie fans or 1960s buffs. I wouldn't call it Corman's BEST movie (I'd choose one of his Poe movies, or 'Bloody Mama', or maybe even 'The Trip'), but it's one of his most FUN. Highly recommended!

The begin is awesome: The little child and then in front of the camera the wheel of Peter Fonda's cycle. Uuaah, it was great for me when I saw this picture first in the age of sixteen or seventeen. This moment I wished to be a biker for the next twenty years. Later Corman's way of film-making didn't work so brilliant for this young shy boy in Bayreuth, Germany. Lot of the rest of this movie is cheesy trivial, and so I remembered today this wonderful scene of terror and an actor in his best form. I don't speak from Peter Fonda (he is only solid like Nancy Sinatra too), the guy is Bruce Dern, one of the most underrated actors of US-cinema. My rating is six of out ten stars, because this picture was with Dern and also created the new genre of motorcycle-films. Marlon Brando as the leading actor in "The Wild One" didn't have the influence for cinema, nor for the fifties or for the sixties like this - sorry - in the sum very, very average picture.

Roger Corman, though having his rightful clout as one of the pioneers of drive in movies and exploitation pictures, doesn't have a great film with The Wild Angels, but then it's not meant to be. As I watched the film, I thought of an adjective for the film that I hadn't used for one in a while- it's reckless. Like the bikers themselves that Corman and his writers are 'following', the film never really comes together and the parts are definitely greater than the whole. Too many scenes end up kind of flailing around with not much to do except act as filler in-between Corman's rule-of-law of their being an action/fight scene &/or scene of sex every 15 minutes. But on the other hand, as a purely drive-in movie, where people watching aren't necessarily meant to keep track of the whole picture ALL the time (likely 'making out' Corman must've thought), it doesn't break under time that much. And, sometimes, Corman is actually pretty creative and intuitive as a filmmaker.

His cast is Peter Fonda (quite similar to Easy Rider which means maybe too esoteric and contemplative to be the wild leader of the angels), Nancy Sinatra (not that great, though she can fake a crying scene pretty well), and Bruce Dern (in a role that actually does ask for some real 'acting' as opposed to biker posing). There are also other real Angels riding about in the background, and basically the story revolves around the wounding- and later unnecessary death- of Loser (Dern), who is also given a proper Biker funeral. In between there are plenty of fight scenes, some exciting moments of the men on their bikes, a few sexy, bra-clad women, and the 'squares' being almost everyone else not an Angel. Sometimes the scenes are pretty basic, lots of generic (even for the period) rock and roll tunes put to the Angels riding around, and partying, though once in a while Corman actually makes it interesting. A scene that is finally quiet, for example, when Dern is getting operated on, is one of my favorites in the film. But for the most part, it's just the simple tale of youth who just "want to be free, to ride without getting hassled by the man...and we want to get loaded!"

In short, it's kind of like the fast-food equivalent of a biker-movie. It's got many ingredients, it fills you up, but it definitely isn't really 'good' for you despite serving up what's promised (it doesn't have that healthy portion of being cohesive in structure and with at least a little nuance). Though for Corman this could possibly be one of his better entries. (Strong) B+

Roger Corman's modestly-budgeted "wheeler" for American International Pictures opens brilliantly, with the evocative cinematography from Richard Moore promising more than what Corman, screenwriter Charles Griffith, or the cast can eventually deliver. Plot has Southern California biker gang enjoying rumbles, cycle jousts, hassling the Mexicans, and outrunning the local heat; but when Bruce Dern steals a police-bike and gets shot, gang "president" Peter Fonda hatches a plan to break him out of the hospital and thus keep him out of prison. The film looks terrific from start to finish, but the line-readings are sometimes so painful and awkward, one wishes Corman could cut back on the dialogue and just allow the visuals to tell the story. Sort of the older brother to "Easy Rider", "Angels" was eclipsed in popularity and relevance just a few years later. Supporting cast includes Diane Ladd, Gayle Hunnicutt, Michael J. Pollard, and Nancy Sinatra, whose hospital crying scene is a hoot. *1/2 from ****

Hard to believe that this film went up against The Battle of Algiers at the Venice Film Festival in 1966. Roger Corman is responsible for starting the biker flicks phenomenon with this film.

Peter Fonda is the essence of coo as he performs a role that he made even more popular in Easy Riders three years later.

He is accompanied by Nancy Sinatra as Monkey, Michael J. Pollard as Pigmy, and Bruce Dern as Loser; along with three time Oscar nominee, and Golden Globe and BAFTA winner, Diane Ladd in her first credited movie role.

Radical scene in the church where Fonda debated the preacher (played by Frank Maxwell, Det. Lt. McAllen in one of my favorite films, Mr. Majestyk).

Exciting action, but missing the gratuitous bits featured in other biker films. PG at best.

Bad movies are made all the time. Some are made by amateurs, while others are made by the highest of production companies. Along with that, some films even have a solid cast and still messed it up somehow. It should make viewers wonder to themselves what the heck possessed these actors to take part in such strange concoctions. In this mid 1960s film, Roger Corman, the man best known for The Little Shop of Horrors (1960) is in the director's chair. Starring in the film is a young Peter Fonda and Nancy Sinatra. Together, these two actors head a biker gang known as "The Wild Angels" (based on an actual biker group "Hell's Angels").

It's after the rolling intro credits where the narrative is lost. Credited as the so-called writer to this movie is Charles B. Griffith, a man who has produced several other works with Corman. Why didn't Corman see how bad the screenplay was? There is literally no part of the plot that is engaging enough for any audience. The only thing that is presented is the behavior of this gang, which doesn't help. The behavior of the gang is reckless, brash and even stupid. In one scene, a bunch of bonehead bikers hop on their bikes to chase a rabbit. A rabbit.

The mentality of this gang is to be "free" and ride their machines without having to answer to "the man". You know, the basic 60s perspective of most rebels. Roger Corman may have been trying to get this message across, but it is done in such a way that is so late in the running time, that by the time the topic is brought up, the audience will already be asleep. It's almost like he was just trying to capitalize on the craze at the time. Let's also not forget the symbol of "The Wild Angels" - the Swastika? Yeah, just how exactly is portraying this in any film other it being about Nazis or Charles Manson sound like a good idea? Point being, it isn't. No one should be proud to represent that symbol. How is that Peter Fonda, Nancy Sinatra and others found it to be a wise career choice?

The dialog isn't anything special either. The characters have no meat to them. Plus, there are little to any characterizations among the leads that are presented to the viewers. Peter Fonda's character says "Shut Up" way too often. Nancy Sinatra's character keeps asking if Fonda's character still loves her (and he can't make up his mind). Nothing is explained to why the characters act the way they do on a personal level. The sole activities that matter to this group of neanderthals is riding their bikes, getting high, getting laid and having meaningless brawls. None of it is appealing, all the way up to the very last minute of the film. Michael J. Pollard best known for his role in Tango & Cash (1989) as Owen even has a role and can't help lift the entertainment level. Forget background music, nowhere close to being on target with the tone of the film. No wonder the real "Hell's Angels" filed a lawsuit!

A story barely exists here. The characters are as transparent as glass, the music is irrelevant and the events that take place are meaningless.

That's what it seemed like ''way back in 1966. Producer Roger Corman set out to make a film based on the notorious California-Based ''Hell's Angels'' motorcycle gang, having seen a cover story about them in Life Magazine.Legendary ''B'' movie studio, American International Pictures was just as anxious to jump on the ''Biker Bandwagon'' (they eventually produced or distributed eleven more films on this subject) and gave the OK to Corman. Though George Chakiris (''West Side Story'' Oscar Winner) was originally cast in the lead role, it was Peter Fonda who ended up playing the part. Playing his ''Old Lady'' was Nancy Sinatra, who was then riding high with her hit single ''These Boots Are Made For Walkin'.Bruce Dern played ''The Loser'' the part originally intended for Fonda, and Dern's then wife Diane Ladd portrayed his on-screen spouse. There were a few familiar faces among the supporting actors as well, including Gayle Hunnicutt, in an early appearance, and Assistant Director Peter Bogdonavich, who is glimpsed in the climactic brawl,as is Corman himself. The story itself is really just a loosely connected series of incidents which allow the viewer to follow the ''Angel's'' exploits as if they were viewing a Documentary about the gang. Since ''The Wild One''aside, this was the film that started the whole ''Cycle'' cycle, it's not surprising that it has a very experimental feel to it.The location photography is excellent, and belies the brief three week shooting schedule, while the musical score written by future AIP Biker music stalwart (and future Lieutenant Governor) Mike Curb, is dynamic and fits the visuals like a glove. The same goes for the group (''Davie Allan And The Arrows'') who perform it. In fact ''Blues Theme'' was a hit single for the group, and the Soundtrack Album proved so popular that a second volume was released. Both records, in fact, started the ''Motorcycle Soundtrack'' craze, most of which were released on Curb's ''Tower/Sidewalk'' labels, a Capitol Records affiliate during the 60's. The actors themselves are not given much opportunity to spread their wings and fly, so to speak, but, under the circumstances, they do all right. Dern is especially convincing as ''The Loser'' and Ladd evokes the sympathy her character calls for. Fonda is a bit weak as ''Heavenly Blues'' the leader, but Sinatra makes a pretty tough ''Momma'' and though her natural beauty is downplayed, she is still very easy on the eyes.Upon it's release, the low-budget film proved enormously popular (AIP'S biggest hit so far) and convinced them to launch a whole series of ''Protest'' films. (A wise decision on their part, because they kept the studio in the profit margin for years to come). The Biker genre would have it's share of hits and misses, and, thanks to a few Poverty-Row, independent productions like ''The Hellcats'' ''The Rebel Rousers'' and ''The Cycle Savages'' (starring Dern) all of which made this one seem fairly lavish by comparison, it had petered out by the early seventies. Nevertheless, ''The Wild Angels'' and a few successors like ''Devil's Angels'' and ''Born Losers'' (both released in 1967) remain among the most popular''B'' films of their era.

In Venice, California, the leader of Hell's Angels Heavenly Blues tells his friend Joe "Loser" Kearns (Bruce Dern) that he had located his stolen motorcycle in Mecca. While trying to retrieve the bike, Loser is shot on the back by a police patrol end goes to the hospital.

This film's pedigree is amazing: Dern, Peter Fonda, Diane Ladd, Nancy Sinatra, Roger Corman, Arkoff-Nicholson, Peter Bogdanovich... even if it was a terrible film, it would be a must-see for all those interested in film history.

An, of course, it is darn entertaining. I would love to see a special edition of this with commentary and the whole nine yards. Maybe one exists, but not the one I saw.

I was 16 years old when I saw this movie and I had just gotten a 90cc Honda motorcycle. What really impressed me was the music in the opening scene where Blue rode his chopper out of Venice, California. I live in LA and was familiar with the area and since I had a bike, I knew the feeling of riding a motorcycle. Each time I ride, I can still hear the music in my head and ever since then I have had a love of pan head, Harley-Davidson choppers. The music played most often and associated with bikes is, "Born to be Wild" from Easy rider. To me, the music is the theme from the Wild Angels. However, even when I saw the movie at that time, I thought the acting was silly. Still, when I think of the movie, I can feel the freedom of the open road, the sound of the exhaust pipes, and the wind in my face. Even at age 53 I still want to go where I want to go and to do what I want to do. This is what America is all about.

The Wild Ones is a fun movie to watch if you love Harleys and familiar Hollywood faces before they were real famous. It's also a movie where as a Harley lover you can see the predecessor of the famous Captain America bike and the blueprint for Peter Fonda's character in "Easy Rider" which is of course a much better movie. Bruce Dern, Diane Ladd who are the parents of Laura Dern, Nancy Sinatra and Peter Fonda. I wonder why Dennis Hopper wasn't in this one? It's not a great movie but as a biker I enjoyed watching it while also doing other stuff..LOL, not a great plot but fun to watch. However if it wasn't for the familiar faces and the history I wouldn't have given it a 6.

The Wild Angels came out just a few years before Easy Rider was released. As much as I admire Easy Rider, I must say, this is a more entertaining watch. Yes, I know people may think I'm crazy for saying that. I liked seeing Peter Fonda as a confused bad-ass in this film. He has a quality to him that made him work as the leader of the gang. Fonda plays a biker named "Heavenly Blues" who has second thoughts about his life-style after a plan of his gets his best friend fatally shot. Bruce Dern does a lot with his small role and even Nancy Sinatra is decent. I thought Diane Ladd was great too. What Corman does that other known B-movie moguls don't bother with, is to cast good actors and that makes a huge difference. I also find Corman to be a decent director and it shows here. This is a decent pre-Easy Rider film.

In Venice, California, the leader of Hell's Angels Heavenly Blues (Peter Fonda) tells his friend Joe 'Loser' Kearns (Bruce Dern) that he had located his stolen motorcycle in Mecca. While trying to retrieve the bike, Loser is shot on the back by a police patrol end goes to the hospital. After the surgery, Blues and the Hell's Angels take Loser from the hospital and he dies. The troublemakers prepare his funeral at Sequoia Groves with a wild party.

"The Wild Angels" is among the worst movies I have ever seen. This trash directed by Roger Corman is a dated mess with terrible performances, unlikable characters completely lost and a pointless screenplay. The bikers request the service of the preacher to destroy the church? Blues interrupts the preacher's speech to say shallow words but when the Hell's Angels are ready to bury Loser, he says no words to his best friend. The story has the only objective of shocking the audience with rapes, sacrilege and stupid and senseless violence. My vote is one (awful).

Title (Brazil): "Os Anjos Selvagens" ("The Wild Angels")

This is a good, old biker trash drive -in flick that you can enjoy if you just sit down with a 12 pack and look thru the BS. The old school Motorcycles are nice, and the Southern California scenery is really cool. Bruce Dern does a pretty good job, but Peter Fonda is really cheesy. I felt the same way about Marlin Brando and Lee Marvin in the Wild Ones. As a Biker myself, I can relate because the ideas haven't changed much. As Fonda states in this movie, we "just want to be free to do what we want and we want to get loaded". Don't take it too seriously, just sit down and get loaded and enjoy the movie. its fun to watch.

Bad. Wretched. Depressing. Shame! And it's racist to boot. If Peter Fonda had any political ambitions, this film would torpedo them in a hurry. I found myself rooting for "The Man." Or just anyone to come along and kick their rear ends. Fonda has one good non-conformist speech during "Losers" funeral, which is then ruined by the subsequent trashing of the church--all because the minister had the nerve to invoke the name of god in his eulogy. Go figure. This poor display of social grace is reminiscent of the juvenile delinquents in Blackboard Jungle: when they trash the teacher's priceless blues collection. I had the same sick feeling after that. Just then I looked over at my girl friend and saw a scowl creased in her face. She was in total disbelief at the way these nihilistic nitwits treated the minister. So was I. And she likes The Born Losers and "Billy Jack." It's truly amazing that Fonda, Dern, Ladd and the others survived this debacle. I know Frank Sinatra must have been appalled that his daughter would appear in such cinematic rubbish. I had a devil of a time collecting my thoughts in writing this review. I needed a long shower afterward. Or a drink stiffer than "Loser."

Heavenly Blues (Peter Fonda) is the leader of the motorcycle gang Angels from San Pedro, California. He and his best friend Joe 'Loser' Kerns (Bruce Dern) lead the gang on a search for Loser's stolen bike. Mike 'Monkey' (Nancy Sinatra) is Blues' lady. Gaysh (Diane Ladd) is Loser's wife.

This Roger Corman flick dives into the counter culture war. It is the presumed inspiration for Peter Fonda to write Easy Rider. The Nazi paraphernalia may be off-putting but rather fitting. It has a simplicity to the plot, the characters, and the style of the movie. It's too bad that Sinatra is a better actor. It's interesting that the other three leads are so much better. I also don't like the bongo music which is more of a hippie thing. It would have been great if Corman had an epic song for the epic funeral party. Overall, this is a fascinating piece of biker movie genre.

Roger Corman, the genius of low budget (no budget) exploitation filmmaking, decided to pioneer the 60's biker genre by making this picture about the Hell's angels. He spent time with writer Chuck Griffith hanging out with the Hell's angels, and hearing their stories. Then Corman hired the Angels, along with Peter Fonda (his first succesful movie), Bruce Dern, Nancy Sinatra (Daddy must have not liked this), and Diane Ladd, along with a few others who knew how to deliver their lines when asked for.

The result is a decently entertaining picture (which most Corman films tend to be), but overall full of filler material that gets boring after a while (such as party sequences that go on for a very long time) as a substitute for character and story development (another Corman trademark as well). As the saying goes, "Good, quick, and cheap - pick two". This film, however, wasn't inexpensive according to Corman standards - it cost almost 1 million to make (and it raked in over 3 million in its first week alone, with many bikers rolling in to drive-in cinemas to see it).

For 1966, the content (people clad in swastikas, partying and drinking their lights out in a protestant church, women scantily clad in their underwear, passing the occasional joint, and 2 inexplicit rape sequences) was obviously a shocker. Today a film like this would have been ten times more disguisting and explicit, and the church scene would be milked for it's offensive potential (and it wouldn't be able to earn the profit this one did, given today's consolidated theater market).

The film's visual style is exciting, with some interesting camera movement and handheld camerawork, lending a documentary feel (complete with soft focus shots). The soundtrack does not feature any exciting 60's music, only the usual film score by a jazzy rock band. The performances are not as bad as the dialogue itself - if the judges at the Venice Film Festival spoke English, it is unlikely this film would have made it in. Peter Fonda does not come off as a great Hell's Angel, and his performance is on the stiff side (probably afraid of how his dad might react). However, this film - and Corman's next film, "The Trip" - inspired Peter Fonda and Dennis Hopper to make Easy Rider (which Corman tried to help finance), a considerably better developed, more meaningful picture than this one - in all departments.

"Heavenly Blues" (Peter Fonda) is the leader of a motorcycle gang known simply as "the Angels" and has as his girlfriend the beautiful "Mike" (Nancy Sinatra). One day he makes the fateful decision to help his best friend "Loser Kearns" (Bruce Dern) get his stolen motorcycle back and that's when things begin to take a turn for the worse. Now as far as this picture is concerned it is somewhat typical of most "biker films" made during this period with the addition of the notable actors just mentioned. Admittedly, the movie loses focus toward the end with nothing to offer other than a large segment of mindless chaos--which all too often isn't that unusual for this kind of film. Having said that, let me just add that this movie isn't for everyone. Those who like biker films, or movies from this particular period of time, will probably enjoy it. Conversely, those who don't may want to steer clear. In any case, I rate it as slightly above average.