The Young Stranger

This eloquent, simple film makes a remarkably clear statement about a teenager and his father. A theatrical release, the director, John Frankenheimer, learned his craft in the early, challenging days of live television in New York City. Indeed, he directed the teleplay on which the film is based, "Deal a Blow," on the CBS drama series "Climax." "Young Stranger" represents his Hollywood debut. After a hiatus of four years, during which he would do more television, he returned to direct "The Young Savages" with Burt Lancaster and, a year after that, "All Fall Down" with Warren Beatty and Angela Lansbury.

The casting is competent with James Daly and Kim Hunter (particularly good) playing the parents of the title character performed by James MacArthur (his first theatrical film) who played the same role in the television version which was his first appearance on the small screen. Look for James Gregory and Whit Bissell in supporting roles.

Rebel Without a Cause was an interesting film, even with the histrionics of James Dean, an actor that was decent, but not as good as James McArthur, in my opinion. The storyline and direction of this film is also superior to the overrated Rebel Without a Cause. It is a true coming of age film about a young man in a slightly dysfunctional family (mostly the father), who has trouble getting anyone to believe the actual events of a minor incident. It is a very interesting perspective of this time period in American history. The father-son relationship is at the crux of the film, and I was very sensitive to that issue, as I am close to my son, Joe. A good study in growing pains of a teenager.

A teenage boy estranged from his wealthy father gets into trouble with the law.

Earnest little teen-age drama. I'm not surprised the movie came from a TV play since the production resembles a Playhouse 90 drama from TV's so-called Golden Age. MacArthur performs wonderfully as the alienated son of a wealthy self-centered dad (Daly). This was the kid's first acting outing and he mostly low-keys it, showing the repression he suffers because of an overly cocksure dad.

Of course, the concern with "juvenile delinquency" dates the show to the 1950's, conjuring up images of a James Dean, a temptation MacArthur wisely avoids. Nonetheless, as in Dean's Rebel Without a Cause (1955), the boy's problems boil down to a dysfunctional dad—too weak in Dean's case, too strong in MacArthur's. Hal's (MacArthur) refusal to come up with an easy apology because he knows he's right about the punch-out in the theater, shows strong character that dad fails to consider. I too, thought why not apologize even if it betrays the facts since that would end the problem with the law. But Hal stays true to the facts because he knows he's right. All in all, it's a good dramatic crux.

The movie's perfectly cast, though I have to say the excellent actress Kim Hunter is largely wasted in a role a hundred lesser performers could have handled. Newcomer Frankenheimer directs with a sure and knowing hand that foreshadows his outstanding Hollywood career-- The Manchurian Candidate (1962) and Seconds (1966), among others.

No, there're no fast car races, or sexy teen girls, standard features of teen movies of the day. In fact, the only action is the set-to in the theater and the lawnmower hijinks. Nevertheless, the movie remains a compelling little human interest drama that manages to survive the decades, thanks mainly to MacArthur.

When the story begins, Hal (James MacArthur) and his friend are at a movie theater and Hal is behaving a bit like a jerk with the man sitting in front of him. He SHOULD have taken his feet off the chair and that would have been the end of it. However, Hal wouldn't back down and the man goes to get the manager. At this point, Hal backs off and tries to just leave the theater to diffuse the situation. But the theater owner has an usher grab him and drag him back into the theater and, not surprisingly, a scuffle breaks out. Hal slugs the manager, as he was trying to get away. Soon, he's arrested and the police and the boy's father both refuse to listen to him and hear his side of the story.

Following this incident, Hal is very mouthy and angry. Much of it you can understand--his father, in particular, would not listen nor support him at all. And, in addition, it seems that Dad's way of handling things is to lecture and then bail his son out of trouble...but the boy is longing for a real connection with the man. At the same time, it becomes obvious that the father has also alienated his wife, as he is very closed emotionally with her as well. It becomes obvious that Hal and the family could use some therapy...not the police.

This is a really exceptional family drama. The characters and dialog seem very real and the story is very moving. Well worth your time.

From the very beginning this movie is a classic of the teens-in-trouble genre - or of any genre. In many respects it is better than "Rebel Without a Cause" with its stunning black and white cinematography, far less pretentious and overwrought plot, and scrupulous avoidance of anything smacking of exploitation. Performances are absolutely breathtaking, even those of secondary characters. The music is just perfect, a dream. Stylistically this is as good as it gets. The plot matches the subdued, sensitive style. But there is a fly in the ointment. The movie overplays its cards, pleading for so much compassion for a young man who doesn't quite merit it, that one tends to side with the theater manager whom he assaulted. The boy's feelings are so tender, that even when he escapes punishment he wants his victim and parents and society in general to admit that he wouldn't have deserved it, had he been so unlucky as to have gotten it. That is going too far. That is emotional blackmail. It's a nasty, bullying streak that the writer feeds and rewards. The implication seems to be that all the sensitive youth are concentrated in the upper strata of society. The wealthier the more "sensitive" kids are. That's occasion for mirth. Poor youngsters are as entitled to say "we are also sensitive", we are also going through phases, and we also need understanding and tender loving care.