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Loser, a member of the Angels, has his bike stolen by a group of Mexicans. He calls in his fellow member Blues as well as several of the other members to help him get his bike back and beat up the guys who stole it. When they get to where Loser's bike is, a huge fight breaks out and several of the guys who stole the bike are beaten to a pulp. However, the police soon arrive and the gang splits. Loser, finding himself without a bike, steals the bike of one of the officers and is chased down and shot. Loser is then taken to the hospital, so he can recover before being prosecuted. The gang then comes and takes him out of the hospital, but in the process they break the bottle of blood that is keeping him alive and one of them attempts to rape a nurse that catches them in the act. But with all the trouble they go through, Loser still winds up dying.
"The Wild Angels" provides further evidence that producer/director Roger Corman wasn't just a clever businessman, but primarily a genuine pioneer of cult-cinema. When people are listing the greatest & coolest biker flicks from the late 60's and early 70's, they're always talking about "Easy Rider", the Aussie classic "Stone", "Cycle Savages" and perhaps a handful of others. "The Wild Angels" rarely ever gets mentioned but it actually predates all these films, so one could really claim this obscure puppy was the prototype of biker-exploitation. In the fifties already, there was the biker classic "The Wild One", with Marlon Brando, but this is the film that almost single-handedly launched the popular trend of exploitation movies in which heavy thugs in leather outfits are cruising across the American countryside and getting in all sort of trouble. Corman's film features pretty much all the essential aspects that determine a biker movie. Nihilistic and crude male characters on their bikes, docile women following them around no matter what, gang conflicts, confrontations with the police, a ritual funeral parade and a whole lot of wild parties with booze, drugs and rape. Peter Fonda depicts, for the first time of many, the ruthless gang leader of a biker gang called The Angels. They wear Nazi symbols and fill their days with smoking weed and complaining how "The Man" doesn't allow them to live freely. When they head out to the Mexican border to recover a stolen motorcycle from a rival gang, Blues' sidekick Loser gets killed after a chase with the police. His funeral escalates into an anarchistic orgy in which the Angels demolish a church, rape their own women and provoke a fight with an entire community. "The Wild Angels" may have been very influential, but it's nevertheless understandable why it never became an authentic cult classic. As said, all the necessary plot ingredients are present, but it too often feels as if they are completely ignored. Multiple potentially compelling sub plots and intriguing character drawings are left unprocessed whereas the film does contain too many tedious and pointless sequences that shouldn't have been there. The atmosphere is effectively nihilistic, with the gang members even continuously fighting and cheating on each other, but there are too few genuinely memorable moments. The acting performances are pretty neat, with a few great names still at the beginning of their careers, like Peter Fonda, Diane Ladd, Michael J. Pollard and Bruce Dern. "The Wild Angels" isn't a classic, but nevertheless essential viewing if you like the rough-n-tough cult cinema of the late 60's.
This film is a wonderful example of how writer/director/producer Roger Corman had a knack out of making cheap films that made lots of money. Oddly, of all his MANY credits, apparently only one of his films lost money--and, even more oddly, it was one of his best films! Here with "Wild Angels" you have essentially a crap film with some actors who later became famous--and it made a fortune. Corman must have laughed himself silly with this one!!
Bruce Dern, Peter Fonda and Nancy Sinatra was all members of the Angels--a sort of biker 'club'. For 1966, they were a pretty scary and tough bunch--though compared to some of the biker films that followed (such as "Satan's Sadists"), they are a relatively mellow group. Sure, they have gang fights, rapes, drug use and altercations with the cops, but otherwise they are all relatively clean-cut thugs with swastikas bedecking practically everything! Early in the film, the gang is having a friendly rumble with a Hispanic gang. After a bit of eye-gouging and the like, the cops show and try to catch the fun-loving guys. One of them (Dern) is eventually caught--and in the process he's very badly hurt. The gang of braniacs decide to break in to the hospital and rescuing them. In the process, the critically injured Dern dies--I guess unplugging him from all the equipment was a bad idea after all! This leads to a lovely funeral sendoff at which time the gang runs amok--destroying a church. In a case of HEAVY padding, this sequence seems to go on and on and on--mostly to stretch the film to full-length and to shock the viewers. It literally makes up almost half the film with the various sacrilegious activities that occur there (including a rape--which, fortunately, is implied and not shown in any detail) and at the grave site. I think the padding is so bad that I frankly found most of this pretty boring!
All in all, it's a film in search of a plot--which, sadly, it seems to lack. A gang fights, a leader dies, they fight some more...end of story....and Corman laughing all the way to the bank since a lot of kids went to see this bilge with one-dimensional characters. Now I am not anti-biker film--I just want to see a good one, which this is not.
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