RIDE THE WILD SURF (1964)

Title: RIDE THE WILD SURF

Year of Release: 1964

Director: Don Taylor

Genre: Drama, Romance

Synopsis: Three surfers come to Hawaii in search of big waves, and the excitement of competing against fellow surfers.

Within a film history context: With the rise of surf culture in the late 1950s and early 1960s, cinema began to respond with an assortment of movies about surfers. The first notable example was Paul Wendkos' GIDGET (1959). A young woman has her first experience with surfing one summer, and is squired by two surfers, one her age, the other considerably older. GIDGET was the first film released by a major Hollywood studio with a beach and surfing background. Its popularity led to two sequels, being GIDGET GOES HAWAIIAN (1961), and GIDGET GOES TO ROME (1963), several television movies, and television series in the years after. GIDGET and its counterparts were followed by the BEACH PARTY movie cycle, made by American International Pictures. 

Commencing with BEACH PARTY (1963), directed by William Asher, this led to a number of sequels, frequently starring Frankie Avalon, and Annette Funicello. These adeptly combined surfing shots with comedy, and romance. Some of the sequels included MUSCLE BEACH PARTY (1964), BEACH BLANKET BINGO (1965), and HOW TO STUFF A WILD BIKINI (1965), with increasingly darker variations such as DR. GOLDFOOT AND THE BIKINI MACHINE (1965). They were films made on tight budgets which, in most cases, returned handsome profits to the studio. The movies were also notable for the big-name stars they attracted, with actors such as Eve Arden, Dorothy Lamour, Peter Lorre, and Mickey Rooney featured. Aside from the BEACH PARTY movies, there were others which spotlighted surfers.

Leslie H. Martinson's FOR THOSE WHO THINK YOUNG (1964), was about a wild young man looking for romance, with the obligatory scenes of beach action, and surfing mixed in for good measure. Lennie Weinrib's musical BEACH BALL (1965), centered around a crafty, surfer rock and roll group manager employing dubious methods to raise money to purchase instruments for his band, which are discovered by the finance committee. THE SWEET RIDE (1968), directed by Harvey Hart, featured a character who was a surfer, among others such as a tennis player, and a musician, in this light movie. RIDE THE WILD SURF was a movie that took another approach to its surfer characters, and this differentiated it from its counterparts.

Examples such as FOR THOSE WHO THINK YOUNG, and THE SWEET RIDE had a single surfer male character, but RIDE THE WILD SURF contrasted three surfers within its framework. THE SWEET RIDE's surfer was older than those of RIDE THE WILD SURF, and more experienced in life. He was more enmeshed in permissive exploits than the surfers in RIDE THE WILD SURF, whose lives were innocent in comparison. These young men sought fun and romance in Hawaii, but did have a credible backstory which provided further information about them other than their penchant for surfing. Their various views on life, and what they wanted out of it, were explored here. While RIDE THE WILD SURF was not drama-heavy as a film, and did have light moments which recalled the BEACH PARTY movies, there was a deeper look into the psychology of these young men which gave them dimension. 

A young man's battle with his feelings of insecurity to prove himself as a surfer, and another's mission to show that he is more than a surf bum, but a vital human being, were two of the stories which RIDE THE WILD SURF covered. This gave the film a sense of punch which the BEACH PARTY movies lacked, as they were oriented towards comedy, romance, and escapism. In addition, the female love interests in RIDE THE WILD SURF were also three-dimensional, ably backing up the male characters without being superficial. As with the male characters, they were easy on the eyes, making them palatable to the audience in a visual, if superficial sense, but carried weight in being credible halves of a male-female duo. In essence, the dissection of real emotions, and the enunciating of these, is one of the reasons why RIDE THE WILD SURF is one of the better movies about surfers. 

Overview: Don Taylor was a former MGM contract player who began to direct motion pictures in the early 1960s. His output was generally light in tone, with some darker works interspersed. The first of his eleven movies was EVERYTHING'S DUCKY (1961). A comedy about two sailors smuggling a talking duck onto their ship, and the zany consequences of this, starred Mickey Rooney and Buddy Hackett in the lead roles. JACK OF DIAMONDS (1967), focused upon a cat burglar, and his assorted exploits stealing jewels from celebrities, and other activities. ESCAPE FROM THE PLANET OF THE APES (1971), was the third part in the series of science fiction movies, and another profitable entry. Don Taylor next made TOM SAWYER (1973). The musical version of the classic story of a young boy in the 1840s also made money, with a cast including Celeste Holm, Jodie Foster, Warren Oates, and Johnny Whitaker as Tom Sawyer. There was a foray into more dramatic territory for Mr Taylor with ECHOES OF A SUMMER (1976). The heart-rending plight of a family, whose daughter is terminally ill, was the subject of this picture, which again featured Jodie Foster, this time as the young girl. 

Horror indelibly marked THE ISLAND OF DR. MOREAU (1977). The survivor of a shipwreck stumbles upon an island, and becomes involved with a mad scientist, who is doing evil things to the citizens residing on the isle. DAMIEN: OMEN II (1978), was another horror film for Don Taylor. In this continuation of THE OMEN franchise, the demonic young Damien causes further death and destruction to those surrounding him, this time the brother of his father, and his wife. With a great cast including William Holden, Lee Grant, Sylvia Sidney, and Lew Ayres, it was an acceptable sequel to the original THE OMEN. Don Taylor's last film, THE FINAL COUNTDOWN (1980), was a war movie with science fiction overtones. In 1980, an aircraft carrier goes back in time to the attack on Pearl Harbour, the past causing issues for present events. RIDE THE WILD SURF was Don Taylor's second film, and an unspectacular, but solid effort.

In the case of RIDE THE WILD SURF, Don Taylor has created an entertaining motion picture. The story of three surfers heading to Hawaii to catch waves, and compete in surfing contests, Don Taylor makes RIDE THE WILD SURF a fast-moving experience. Mr Taylor accomplishes this by immediately diving into the story, taking spectators on a fun journey into the lives of its three leads. The lack of exposition at the beginning does not hurt the movie, as there is time further down where the audience becomes familiar with the characters, and what they are seeking. It is not a matter here of flaky young men seeking to prove their manhood, or bravado, on the waves, which can become tiresome in other pictures. The objective is of achieving something in their lives to be seen as viable human beings. The best parts of RIDE THE WILD SURF are those where intimate thoughts of the protagonists are aired, as in the case of Jody Wallis, and Steamer Lane. This goes way beyond visions of hulking surfers with no depth, which the BEACH PARTY films sometimes showcased. While it is a positive that one gets to know the characters is great detail, RIDE THE WILD SURF could have improved upon this aspect considerably.

It is pleasing that beach life and shenanigans have largely taken a back seat to more pressing considerations in RIDE THE WILD SURF, and the presence of a plausible story one of its assets, but further work could have been done in this arena. Jody's mindset was intriguing to witness, and how he sometimes shuts Brie away, but this seemed like a teaser, and prelude, to something that was never explored. Likewise, Steamer's protestations to not be seen as a beachcomber by his girlfriend's mother, and her misgivings about him, were also real, and then cast aside to seek harmony in the narrative. If RIDE THE WILD SURF spent more time examining these situations, which were perfectly valid, it would have taken the movie to another level, and even further removed from the BEACH PARTY series. Alas, it appears there was a move to keep the film light and bright, but having added pathos would have been beneficial to a greater impact. A slightly unbalanced but competently handled movie, RIDE THE WILD SURF is notable as attempting to distinguish itself from other beach pictures, and does realize this in its own way.

Acting: RIDE THE WILD SURF features a number of appealing performances. In the lead part of surfer Jody Wallis, Fabian is just right. A teen idol sensation of the late 1950s and early 1960s, it is easy to see why, with his good looks, charismatic manner, and passionate undercurrent just some of the reasons. His other half in the film, Brie Matthews, is given oomph by Shelley Fabares. What could have been a noxious nymphet in lesser hands has been made into a winsome ingenue with a fetching presence. The bouncy Augie Poole is another fun turn by Barbara Eden. An actress with an indefatigable manner, coupled with sharp intelligence, Miss Eden always gives a great account of herself in whatever she appears. Unfortunately, Augie's partner, Chase, does not fit in as well into the equation here. Peter Brown has the right look for the picture, with a pleasant personality, but is miscast as surfer Chase. 

On the other hand, ambitious surfer Steamer is a compelling figure in the person of Tab Hunter. As with Fabian, Mr Hunter was also a teen idol of his time, and here is excellent as a man seeking to prove that he is more than just a transient surfer, ably convincing the audience of this. The apple of Steamer's eye, Lily, is given poise by Susan Hart. A striking actress with a low-key disposition, whose acting career lasted only several years, it would have been interesting to have seen more from her, as her acting was precise. Lily's commanding but protective mother, Mrs Kilua, is in the authoritative presence of Catherine McLeod. With her penetrating stare and canny ways, Miss McLeod was RIDE THE WILD SURF's voice of reason and truth, and rounds out the great acting in the movie.

Soundtrack: For a movie about surfing and the 1960s, RIDE THE WILD SURF is surprisingly lean in terms of its musical accompaniment. This is a win for the picture, as it would have detracted attention away from the story and its characters. Stu Phillips' score works agreeably in the background throughout the film without becoming tiresome. The key departure from this is the final credits sequence, where Jan & Dean's 'Ride the Wild Surf' is employed, thereby tying up RIDE THE WILD SURF in a pleasing way.

Mise-en-scene: RIDE THE WILD SURF has a very good attention to detail in its onscreen viewer experience. Joseph Biroc's Eastmancolor cinematography is clean and beautiful, showcasing the pretty Hawaiian locations to best effect. There is the feeling that the spectator is on the ground with the characters in many instances, so vivid, and intimate is the photography, particularly of the surfing, and beach sequences. Costuming has been carefully arranged to make a distinction between each and every character, this aim successfully accomplished. Editing is also crisp, making the surfing segments flow very well, and evoke excitement and wonder in the viewer.

Notable Acting Performances: Fabian, Shelley Fabares, Barbara Eden, Tab Hunter, Susan Hart, Catherine McLeod.

Suitability for young viewers: Yes. Slight adult themes.

Overall Grade: C

Link: IMDB Page

Trailer