Jenseits von Eden

Director Elia Kazan's film of John Steinbeck's novel, adapted by screenwriter Paul Osborn, is based on just a portion of that book yet has more plot than it knows what to do with. The picture is heated, occasionally heavy-handed or melodramatic, but features a great cast, gorgeous locations, superb color cinematography from Ted McCord, majestic scoring by Leonard Rosenman--so why isn't it a masterpiece? It is encumbered by a script with too much ground to cover; the story threads and characters are enough for two more pictures. In 1917 Northern California, a genial single father and lettuce farmer--just discovering the merits of refrigeration--juggles his attention and affections between his two sons, one a straight arrow with a steady girl and the other a hellraising hothead. The bad son is determined to find out what's become of his mother, reputed dead but really making a decent living as a madam in nearby Monterey. His clean-cut brother, who harbors deep-seated jealousies, is concerned about the impending war with Germany and his own non-involvement (read: cowardice). At times overstated, and with a showy side that reveals a certain self-consciousness, "East of Eden" could surely do without the Biblical parallels and implications; however, it does give its talented performers exceptionally meaty roles to play. James Dean cuts a dandy presence on the screen; though he sometimes comes off as a junior version of Brando, Dean nevertheless owns the film while conveying a range of hyper-sensitive moods quite compellingly. Richard Davalos, playing Abel to Dean's Cain, perhaps isn't quite in the same league as his co-star, but he's well-cast and looks astonishingly like Dean. Julie Harris, as the nice, decent girl who is attracted to both brothers, does the hand-wringing bit convincingly enough, and her bedside speech near the finale is genuinely moving. Jo Van Fleet won a Supporting Oscar as the boys' intimidating mother, Raymond Massey does solid work as their father, and Burl Ives is the cool-headed local law. Some of the editing is sloppy (especially in the early scenes) and, indeed, the picture seems to begin in the middle of this tale, with bold undercurrents we sense but are not privy to. It's a good film, not a great one, and keeps to the right side of soap opera thanks to forceful interaction, a beautiful production design, and the sweep of grand storytelling. *** from ****

Ever felt lost?--have trouble finding your place in the world?--feel jealous of, or ignored by, a family member? If you answered yes to any of these questions, beware--the resonance you may feel toward the characters of this film may be so intense, the emotional pull of its story so overwhelming, that at its end you will find yourself exhausted, spent, trembling in its cathartic wake. I find it so every time I see it. As an examination of the terrible undercurrents in family relationships, of adolescent angst and loneliness, of the universal need for love and the awful consequences of its being withheld, it is nearly peerless. Movies that toyed with similar themes, like "The Graduate" or "Rebel Without a Cause," though great films, do not come close to packing the emotional wallop this film delivers.

To a large part, the intensity of the affective response generated by watching "East of Eden" must be attributed to the strength of the performances. No false notes here. Raymond Massey, a truly superb actor who has largely, and undeservedly, been forgotten, gives one of his best performance as the father with a secret, a man with the best intentions in the world, who has nonetheless unwittingly crippled his son Cal with his sometimes harsh criticisms and his favoritism of his brother Aron. Julie Harris is simply wonderful as Abra, a young woman who gradually becomes disenchanted with the "perfect" brother, Aron, finding herself becoming more and more interested in the vaguely frightening, yet vulnerable Cal. Her "speech" near the end of the film to Cal's father is heartrending. Everyone else is fine, from the always dependable Burl Ives to Albert Decker, and Jo van Fleet deserves special mention as the supposedly dead mother. The vehicle which propels the film, however, is James Dean who not only gives the best performance in his all too short career, but one of the best in cinematic history. It is truly amazing to watch him work here. The viewer becomes like putty in his hands, bending and rending our emotions at will. It's a performance not to be missed.

The movie has received criticism because it does not follow the book, and leaves out at least the first two thirds of the novel. "East of Eden" is one of my favorite books, yet I have no trouble accepting this film on its own merits--which are considerable. A movie CANNOT be a book, though there have been several directors who seem blithely unaware of this giving us plodding movies straight-jacketed by their literary source. One cannot judge this movie solely by comparing it to the book, and with each deviation from the source, give it a demerit. I believe this movie is every bit as great as the book--but it is NOT the book. And John Steinbeck himself loved this movie, reportedly saying that the movie was a greater achievement than his book had been. That's a recommendation good enough for me, and should be enough for the lovers of the book. You CAN love both. I do.

"East of Eden", based on the novel by John Steinbeck, concerns an upright father (Raymond Massey) and his two sons: one whom he considers good (Richard Davalos) and another whom he considers bad (James Dean). The story is influenced by the biblical story of Cain & Abel while much of the film focuses on Dean's character striving to earn the love of his father.

The cast is a pretty good one. James Dean received a posthumous Oscar nomination for what was his first major film role. I think that his performance here is every bit as memorable as his work in "Rebel Without a Cause". Jo Van Fleet ended up winning an Oscar for her performance while Julie Harris also delivered a fine performance. Unfortunately, I found the performances of Richard Davalos & Raymond Massey too bland to stand out, especially in comparison to the other cast members.

Elia Kazan's direction was good enough to land a Best Director Oscar nomination but I don't think that the film looks quite as good as other films of his. The score by Leonard Rosenman is stirring and is showcased in an overture at the beginning of the film.

I would certainly recommend this film to anyone wanting to know what all the fuss is about James Dean. Even if you're not interested in him particularly, you'll likely find the story an enthralling one.

I am a lover of classic movies. I'm in my 20s, but I've been watching them since I was little. I try not to fall for the "hype" of many of the classics (i.e. Gone with the Wind, Citizen Kane, East of Eden) until I've seen them for myself. Not that my opinion changes their status, but I think a lot of movies have a reputation and too many people are afraid to go against the grain of popular belief.

Anyways, this movie was on TCM this week and I finally got a chance to watch it. I've never read the book, so imagine my surprise when through the reviews and messageboard here, that this movie was only the last portion of the book. That probably explains why nothing in it made me sympathize with the characters. I thought the Cain/Abel theme might be intriguing, but frankly, this was a very boring and overdone movie. I have never understood the hype of James Dean (RIP). What I've seen of him has been hammish. Hammish actors unless it's completely intentional makes me cringe. Anyway, many people have addressed the storyline already, so I will only give my impressions. Maybe it's b/c I was born 30 years after the fact, but James Dean does not come off as a teenager. He comes off as an immature, whiny, self-absorbed young adult. I enjoyed him more in Giant (one of my favorites ever). I kept wanting to tell him to grow up, even at the end.

Now that I've seen it, I will probably never watch it again. The melodrama effect just didn't work for me. I prefer Brando and Newman as well.

I just reserved the book at my library so I can see what was missing.

I recently purchased this film, having never seen it before, and feeling somewhat peeved at the fact that it is never shown on TCM. Immediately, I recognized it as one of the best films ever made. The adaptation from the very dense and wonderful Steinbeck novel obviously required much of the relationship between Adam and Charles to be deleted, however I felt the film did not suffer from this at all.

James Dean is a completely different animal than the other actors of his time, and from start to finish in this film, he is spellbinding. The emotional intensity and reality he brings to the film is so convincing it is almost painful to watch at times, especially when he goes to see his mother for the first time and he desperately tries to speak to her as he is being wrenched away. The tone of his voice, his subtle gestures, his utter desperation for love is amazing and completely his own. I once read that Dean did not consider East of Eden to be his best film, but I disagree with him there. I have never seen a film (or an actor) that even came close to matching this one, particularly when viewed from its position in time and the nature of cinema in the 1950s. James Dean put himself 'out there' emotionally in such a raw way that the power of that brave acting yet holds the ability to touch the audience with every viewing. I think the film makes a hugely important statement about the human condition that is still valid a half a century later.