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James Dean died in September 1955, leaving behind him mystery, legacy… and eternal youth. Indeed, we'd never know what was eating that spirit torn between the tumultuous torments of young age and the realm of coming adulthood, but we know though that the tragically abrupt end to his lightning way to success turned, Dean into an instant icon. He'd be to youth what Marilyn Monroe was to glamour, John Wayne to Western and Hitchcock to thrills.

His first film, "East of Eden", moves in the same circle than "Rebel Without a Cause" but in the polar side. If Jim Stark in "Rebel" faced the emasculation of his father and drove his own self like a racing car that would ultimately crash into the wall of reality, Cal Trask's father doesn't quite lack authority but perhaps something more life-impacting: love. Cal Trask is like the counterpart of Jim Stark, the rebellion is the tool for the former, the end for the latter, and both are directed toward the father… or the authority figure. And are you surprised that the two names' anagrams are exactly the same? It's never about Stark or Trask, but about James Dean.

Dean inhabited his roles because they inhabited his life already. Dean had lost his mother at the age of nine and had no connection whatsoever with his father who worked in Los Angeles while he grew up in Indiana. In an especially poignant moment, facing the disapproval of his father, and the rejection of his gift, Cal tries to embrace him but his hands can barely reach his father's neck. It's physically painful to watch, but it gives us enough time to measure the desperation in Cal, facing the incapability to reach his father Adam, a farm-owner who didn't only plant lettuce in his grounds but also the seeds of his younger son's jealousy. He's played by the towering Raymond Massey.

Adam is a stiff man, who loves both God and his son Aron (Richard Cavados) but can't duplicate that feeling toward Cal. It is left open to interpretation whether Cal grew these awkward mannerisms and emotional secrecy from the lack of paternal love or whether Adam seemed to favor Aron because of his odd behavior. But there are two certitudes; Adam could only love Cal if he was like Aron. Interestingly, Massey didn't get along with Dean who kept on teasing him and improvising his lines, the clash between the old-school and the new generation drove an interesting feud that Kazan expertly exploited for the film. Cal couldn't be like Aron even if he tried, just like Dean.

But the awkwardness of Dean finally pays off in the terrifyingly poignant third act, in "Rebel" Dean incarnated a son who killed the father (symbolically) not to disappoint himself, in "Eden", it's the very fear of disappointment that drove Cal for most of the film, and many so-called rebellious kids where fearing disappointment like plague and only became rebels by rebelling from their own ties, once they realized the efforts would be fruitless. There is some Freudian parricide so to speak in "East of Eden", but the original 1952 novel, by John Steinbeck, is also a retelling of the story of Abel and Cain, it's also a brother's story with a rivalry caused by women. Starting with the most significant one: he Cal and Aron's mother, who fled from Adam's virtuous grip in Salinas and went to the 'east of Eden', in Monterey, a fishing port where she lead a successful brothel. She's played by Jo Van Fleet.

Obviously, Cal inherited that 'dark side' from Kate, but when she finally tells her story, we start to see goodness in her, or at least, attenuating circumstances, and through a mirror effect, in Cal too. And the well-meaning Adam becomes a Biblical tyrant who tried to mold everyone under his own vision of family, to the point of lying to his son Aron and telling her that she went to heaven. The other female player is Aron's fiancée Abra (Julie Harris). She's a respectful and optimist girl who had her deal of troubles in the past, enough to be able to see goodness in Cal when he tries to please his gather and jealousy in Aron's when he suspects some ill behavior from his brother. Abra could have cemented the family, but there are just too many conflicts to expect a happy ending.

Basically, envy, wrath, jealousy run in the family, and create many hellish situations paved by the best intentions, even the only money Cal can earn for his father will be deemed as dirty and unholy and will provoke the breakdown we all expected. Indeed, watching "East of Eden" is like knowing a ticking bomb will soon explode and the anticipation of a family meltdown is magnificently conveyed by the nervous, awkward but electrifying performance of James Dean. Elia Kazan contributed to cinema in many ways, but besides Brando who changed the face of acting, Dean was his best gift to the world. Dean was a newcomer, an unknown face, but when Kazan saw him and had a few exchanges, he knew Dean had Cal in him, he knew his life experience created that odd concoction of delicacy, shyness and rebellion.

Many critics found his acting weird, difficult to enjoy or too mimicking his then-idol Brando. But there's a lightness of being in Dean I can't find in the steaming passion of Brando, Dean still tries to fit in his environment, conveying an ahead-of-its-time brilliant embodiment of vulnerability, something new but that holds up very well today, and that Academy members were clairvoyant enough to notice, and give Dean the first posthumous nomination of Oscar history.

Unfortunately, "East of Eden" was the only film he could see released, by the time the two others came, he was history, and a legend.

Although some of his other books receive more acclaim and readership ("The Grapes of Wrath," "Of Mice and Men," "The Winter of Our Discontent"), John Steinbeck said that "East of Eden" was the novel that he lived to write. Indeed, the moralism of his writing reached broader and deeper in Eden than in any of his other works. The story here is set mainly in Steinbeck's beloved Salinas Valley and Monterey County.

Warner Brothers did a commendable job in bringing the story to life on the silver screen. It condensed a 600-page novel into a two–hour film, yet kept all of the main elements of the drama. The title for the story comes from the Bible. Genesis 4:16 reads, "Cain then left the Lord's presence and settled in the land of Nod, east of Eden." The plot of the story is a modern Cain and Abel tale, and it is repeated within succeeding generations.

In the Bible, Cain brought "some of the fruits of the soil" to offer the Lord. Abel brought "the best of the firstlings," or "some of the firstlings and their fat portions." The latter were more pleasing to God. So, Cain did so-so, average, but Abel went out of his way to give the best to the Lord. God didn't love Cain any less -- he was just most pleased with Abel's offering. Yet Cain succumbed to pride, greed, envy, anger and lust.

Most know the story of "East of Eden" or will find other reviews that discuss the plot. So, my remarks here are brief and cover some things not mentioned. Seeing this film again after many years, on a DVD, I had the advantage of extras that included some deleted scenes. I think one inclusion would have made the film perfect – the scene of Cal and Aron in their room after they had argued outside and Cal said that Aron was "the one he wanted" referring to his father's favoritism, as he saw it.

Without that sequence, we see Cal suddenly perking up, pitching in and being Mr. good-guy helping his father. But, there's no real explanation or background to let us know why he would change. I don't know why they deleted that scene – it made the perfect fit and segue with Aron and Cal talking and Aron explaining in a way that Cal could understand. I don't think that would have made the movie too long in itself.

James Dean had the largest role, as Cal, and was the male lead. And, yes, he was a new young and hot star of the time. All of the acting is excellent, including Dean's. But, I think the very best performances in this movie were by Julie Harris as Abra, Jo Van Fleet as Kate, and Raymond Massey as Adam. Richard Davalos, as Aron, wasn't far behind; and Van Fleet's performance was most deserving of the Oscar she won.

James Dean made one more film after this – "Giant," which came out in October 1956. He wasn't alive to see it, because he was killed in a highway accident on Sept. 30, 1955. He had just finished filming for "Giant." That was just five months after "East of Eden" hit theaters. It's interesting to note that the site of Dean's accident was a few miles east of Paso Robles, California. That's at the southern end of the Salinas Valley of Steinbeck's "East of Eden."

Those interested in Steinbeck should enjoy a visit to the National Steinbeck Center. It's a marvelous museum in downtown Salinas, CA.

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 ****

James Dean plays Cal, a son of Adam Trask (Raymond Massey) who feels unloved and unwanted by his stern father, a situation not helped by Adam's apparent acceptance of Cal's brother... Cal suspects that his mother, long believed dead, is the madame of a local brothel, and when this is confirmed, the young man is convinced that he has found the reason why he is bad...

His awkward, unhelpful attempts to find himself and come to terms with his situation led young audiences to identify with him immediately, an identification that was compounded by his role in 'Rebel Without a Cause' where again, only with more violence, he rebelled against his middle class family...

The impact he had made on the anxious, unhappy youth of that time was confirmed as much by his death as by the style and abandon of his life..

Dean was a youth who rebelled against the riches of the American Dream, though he finally denounced it all in a reckless moment... Dean therefore embodied the confused attitudes of a generation who had never suffered through the Depression and rejected the acquisitive attitudes of their parents, while at the same time they hankered after the American Dream... Dean gave physical form to the perplexing confusion of ideals, that haunted the majority of postwar American youth...

If you have ever come out on the short end of a sibling rivalry and/or felt seriously wronged by a parent(s), you will probably connect nicely with "East of Eden" (1955). Since the majority of viewers meet these criteria it is easy to see why the film finds a new audience with each generation. And it is easy to understand the tears that are often shed by both first-time and repeat viewers.

Although set at the start of World War I, the generational issues portrayed really had came to a head by the mid-1950's. Which is why the film was so timely and contemporary when it was released. It was Elia Kazan's troubled relationship with his own father that first attracted him to Steinbeck's novel and caused him to focus the film on the portion of the story that addressed this issue.

Originally I ranked it a distant third in the James Dean film pecking order but over the years it has somehow passed "Giant" and "Rebel Without a Cause" IMHO, and I now find it to be clearly his best and more enduring work. It is a real actors/director's film, with just six significant characters and with especially good performances from Dean and from Julie Harris. Both were a bit old for their parts but Dean's boyish manner allowed him to sell the character and Harris (who had convincingly played a twelve year old just a few years earlier in "Member of the Wedding") looks the proper age in every scene except one (an outdoor scene shot in the bright sun). She struggles sometimes with reining in her sophistication but that could just be the subjective perception of this viewer.

Here are some random points to appreciate in this great film:

Don't misinterpret Cal's (Dean) motivation, he is not doing things to win his father's love but because he loves his father (communicated by the early scene where he watches his father working in the kitchen). The former motivation would be simplistic; the latter opens up a host of interesting and ironic interpretations as you realize the seemingly bad son Cal actually understands his father and admires his goodness more than "good" son Aron (Richard Davalos).

Aron is not really the innocent figure he appears to be, he does not like Cal and throughout the film betrays him.

Abra (Harris) is caught between the two brothers, moving steadily from Aron to Cal as the film progresses. Aron represents everything she understands that she should be and Cal represents everything she has been denying herself. The story is largely seen from her point of view, and her growth parallels her (and the audiences) slow realization that Cal is not bad but misunderstood. The two are slowly falling in love but do not kiss until she gets up in the ferris wheel, a place where (symbolically) she is no longer standing on solid practical ground.

It is really a coming of age story for both of them, with Abra slowly embracing new areas of human experience and Cal moving from adolescence to manhood; thanks largely to her timely interventions. Watch for subtle details that Kazan has included, like Cal's inability to make extended eye contact with his father, brother, and mother; something that he has no problem doing with Abra. And Cal's unsteady progress as he moves forward momentarily and then retreats by looking away.

Note Kazan's use of a raked camera angle for the scenes inside the Trask home, unfortunately this device is a little too extreme and calls attention to itself. Also used in "The Third Man", it was done here to reinforce the off-kilter nature of this family's dynamic. It goes away after the scene in which Cal finally confronts his lifelong jealousy of his brother and accuses his father of rejecting him because he is so much like his mother, telling Adam (Raymond Massey) that he cannot forgive himself for having married Kate. This is the point at which Cal moves forward into permanent manhood, prior to this he had stepped forward briefly and then retreated back into childhood.

Watch for the method-acting device of an actor playing with an object as a means to introduce naturalism into the scene (Abra first flirts with Cal with a flower, Jo Van Fleet makes a show of taking out and lighting a cigarette, Cal repeatedly dips his finger into a wine glass). "East of Eden" would be nothing but an overwrought melodrama without a host of little things like this that humanize the story.

Watch for the awkward tension in all the scenes between Cal and Adam, Kazan cultivated the off-screen friction between Dean and Massey; reasoning that it would translate into more realistic on-screen sequences between the two actors.

Watch for the stunning sequence late in the film when Cal slowly moves out from under the tree branches (his menace reinforced nicely by the score).

Finally note the contrast between the restrained closing scene (which is also the climax) and the melodramatic style of the almost everything that has preceded it in the film.

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