September 30, 1955

Richard Thomas of 'Waltons' fame stars here as Jimmy J., an Arkansas undergrad in the 1950s who idolizes rising film star James Dean. He feels a kinship with the young actor, thinking that their lives have mirrored each others'. When he learns of Deans' death, he goes a little crazy, dragging his friends into assorted escapades that ultimately have a sad result.

Written and directed by James Bridges ("The China Syndrome"), this little period piece seems to be somewhat forgotten nowadays. It's not always terribly compelling or interesting, but it's still worthy of some respect, considering the way that it examines the fascination that some people feel for movie stars. Dean in particular had an iconic presence that resonated with a generation; it's not hard to believe that his passing was deeply felt by people like Jimmy J.

A mixture of comedy and drama, "September 30, 1955" is sometimes amusing and sometimes poignant, leaving us with one memorable showcase speech for Thomas, and the idea that life is not really "like a movie" as some folks might think.

The period recreation is pretty good, and the film benefits from a touching score by Leonard Rosenman, who had scored the Dean vehicles "East of Eden" and "Rebel Without a Cause" once upon a time. But the main reason to watch is the talented, engaging young cast, some of them making their feature-film debuts. Thomas is wonderful, and his supporting actors make for an endearing ensemble: Deborah Benson (leading lady in the superior slasher "Just Before Dawn") as Jimmy J.'s girlfriend, Lisa Blount ("Prince of Darkness") as the fellow free spirit and Dean devotee, Thomas Hulce ("Amadeus") as the roommate, Dennis Christopher ("Breaking Away") as the sidekick, and Dennis Quaid as the jock. Collin Wilcox Paxton ("To Kill a Mockingbird") plays Jimmy J.'s mother, and Susan Tyrrell ("Forbidden Zone") plays Billie Jean's mom.

A semi-autobiographical tale for Bridges, who grew up in Paris, Arkansas himself.

Seven out of 10.

A film about the day James Dean died ... is a good glimpse into the lives of some fans that were so moved by his death that it changed their lives.

Tom Hulce gives us a glimpse into more great things to come from him. His role, while not the principle character, is complete and real. The youthfulness and obsession (with sex) Haney has is so true of many young people but done in a non-sterotyplical way.

A great film for James Dean fans, Tom Hulce fans and Richard Thomas fans.

This autobiographical film is one of the rare American motion pictures to examine the effect that movie stars have on audiences, particularly young audiences yearning for role models during times of emotional isolation. Writer-director James Bridges ("The Paper Chase," "The China Syndrome") recalls his youth in Paris, Arkansas (called Conway here) to create a heartfelt work of escalating intensity as its impressionable hero, Jimmy J (Richard Thomas), leads his friends over the edge as they mourn James Dean. "September 30, 1955" integrates images, themes, and even the music (also by Leonard Rosenmann) from "East of Eden" and "Rebel Without a Cause," and adds resonances to both films. This little, unheralded picture needs to be seen -- as does Richard Thomas's utterly brave performance. The key to understanding this film is not to think of it as a "youth picture" but as a deconstruction of the movie star mythos.

Had never heard of this movie and turned it on because nothing else was on. Turns out it was a touching and well-acted story.

Richard Thomas--normally I don't much care for him--was excellent. There's fun here and there's melodrama, and it's a little over the top, but all in all, it's quite entertaining.

The film was made in 1977, but it doesn't seem all that dated. The sensibility and ironies, which abound, seem quite contemporary, even though it's set in 1955, and it recreates that era very well. At any rate, if you have a chance to see it, I think you'll like it.

It's also fun to see Dennis Quaid and Tom Hulce in their late teens.

An appealing rookie effort by James Bridges that has its moments. Yes, the quality is uneven but its melancholy, nostalgic undercurrent echoes Dean's effect on the disaffected youth of the "innocent" Fifties, the first generation to register his impact. Offbeat, quirky and, yes, melodramatic, "September 30, 1955" captures adolescent confusion, longing and the death of innocence, paralleling Dean's own untimely death. The day-for-night closing fade-out and elegiac music foreshadow a sleepy generation soon to lose its Saturday-night youth to rapid, startling change. Throughout, Dean's presence is often eerily palpable in an admittedly lesser effort that deserves a greater following.