Juventude Transviada

Trending picture about maladjusted teenagers excellently directed by Nicholas Ray , being his most popular and influential film . A rebellious adolescent named Jim Stark (James Dean) with a troubled past comes to a new town, finding friends and enemies. He is alienated from both his peers and parents (Anna Doran , Jim Backus) . He finds underdog youth as Plato (Sal Mineo) and Judy (Natalie Wood , to whom Ray was rumored to have made advances) in a Police Station and soon later they befriend turning into three outcast friends .

Good film dealing with adolescence problems from the 50s , being magnificent played by a group of splendid young men . Many memorable set-pieces , including the ¨chickie run¨ between James Dean and black leather-jacketed Corey Allen . James Dean's most important screen appearance in the second of his three movies , following ¨East of Eden¨ and his final was ¨Giant¨. Director Ray touches upon his favorite theme: two lovers searching for a quiet place to live in peace that also used in former picture titled "Lovers of the Night (1945)", one of his few totally controlled pieces of work . Awesome support cast formed by newcomers who would have an acceptable and uneven career as Dennis Hooper , Corey Allen , Nick Adams and special mention to Sal Mineo as lone and feeble Plato . Ray, screenwriter Stewart Stern, costar James Dean, and Sal Mineo himself all intended for Mineo's character Plato to be subtly but definitely understood as gay , although the Production Code was still very much in force and forbade any mention of homosexuality, all worked together to insert restrained references to Plato's homosexuality and attraction to Jim, including the pinup photo of Alan Ladd on Plato's locker door, Plato's adoring looks at Jim, his loaded talk with Jim in the old mansion, and even the name "Plato," which is a reference to the Classical Greek philosopher ; for that mansion scene, Dean suggested to Mineo that Plato should "look at me the way I look at Natalie." Furthermore , the film packs a colorful and glimmer cinematography in Technicolor by Ernest Haller . Moving as well as thrilling musical score by Leonard Rosenman .

The motion picture was very well directed by Nicholas Ray who researched L. A. gangs by riding around with them for several nights. In September of 1954, Ray wrote a treatment to "The Blind Run," about three troubled adolescents who create a new family in each other. This would form the basis for this picture . After some re-writes, Ray started shopping for a lead actor. After a trip to the Strasberg Institute in New York proved fruitless, he learned that Elia Kazan had recently discovered a New York stage actor for his latest film, but he wasn't recommending him; even after Ray saw a rough cut of this actor's latest film he still wasn't sure. It was only when Ray met 24 year old James Dean at a party did he realize that this hot new talent would be perfect for the role of Jim Stark, a troubled youth whose world is unraveled in a 24-hour period. Ray and Dean formed a very close bond during filming, with Ray allowing Dean to improvise and even direct to his liking. The rest of the cast came together with the talents of two fifteen-year-old : Natalie Wood and Sal Mineo; as well as smaller roles, which Ray cast based on weeks of bizarre, improvised auditions as well as interviews with the actors. The three superb young stars carry this in-the-gut tale of teens . However , all three leads met with real-life tragic end , Dean dead by a car crash , Natalie by drowning and Mineo was killed . Filming was a wild ride, but it paid off; Mineo and Wood were both Oscar-nominated in the supporting acting categories, and Ray received his only Oscar nomination, for the screenplay. Ray and Dean planned to make more movies after this, but Dean's death would never make that possible, and at least they left movie audiences with one great film. Rating : two thumbs up , extraordinary , top-drawer material . Indispensable and essential watching this classic movie .

Like any film that strives to be current, "Rebel Without a Cause" has inevitably become dated since its release over fifty years ago. Therefore, you have to make allowances for this and take it in the context of its time. Those willing to do so will recognize the film as a substantial offering, especially for a film about young people.

Certain aspects of the plot may be dated but the emotions are timeless. Each of the teens is looking for something different from their parents. Jim is hounded by the question of what it takes to be a man but gets no help from his hen-pecked father. Judy justifiably feels unloved due to her father's suddenly frigid demeanor. Plato, meanwhile, doesn't even have his parents around at all, therefore he feels lonely and abandoned. These problems (and a multitude of others) haven't vanished in the time since this film was released.

The direction by Nicholas Ray brings this story to life and shows some interesting touches along the way. The opening credits with Jim drunkenly messing around with a toy monkey is just one memorable scene. The 'chickie run' scene is perhaps the film's most memorable set-piece.

The movie also benefits from a legendary performance from James Dean, who didn't even live long enough to see the film hit theatres. His performance here is angst-ridden and filled with nuance. Perhaps his best scene is the one in which he confronts his parents when he returns from the chicken run. Puzzlingly, though, he never got an Oscar nomination while both Mineo & Wood did. Mineo was certainly deserving but to me Wood's performance was nothing particularly special. Also notable was Jim Backus who turned in a fine performance as Jim's father.

The film contains a wealth of deeper meaning and, depending on who you ask, possibly some taboo-defying sexual undertones. After seeing the film a few times I'm no longer so sure about the supposed homosexual subtext of Jim & Plato's friendship; that may be more of a by-product of their respective issues stemming from missing or ineffective father figures. Judy's relationship to her father is also not without sexual undertones but, again, this may be a by-product of the issue at hand; that is, her father's lack of overt affection as she blossoms into maturity. Regardless of whether or not any of this was the intent of the film-makers they were nevertheless daring to present such provocative material while the production code was still in effect.

All in all, a fine film that is deservedly lauded as a classic decades later. Check it out but be sure to put yourself in a fifties state of mind.

This film bears watching once every 5 years or so. It is astonishing on many levels, not least of which is the exploration of the underbelly of the happy suburban post-war years in middle class America.

Yes, we all rave about the beautiful and sadly short lived life of James Dean who died before this movie opened. To die also in a manner highlit in this movie - he was co-incidentally a promo for it. Fast driving and fast cars. Poor James.

What I enjoy most though in all of it is the afore-mentioned exploration of hitherto fairly underdeveloped film themes in the America of the fifties. For one, there is the underlying homosexual element to the Sal Mineo character and his obsession with James. And here James is allowed to indulge and return this love, not overtly, but it is there, the tolerance and acknowledgment of it.

The character of Judy, played by Natalie Wood is also of tremendous interest. Here there is an incestuous component in her relationship to her father. It seems to me that the father is terrified of his attraction to his gorgeous daughter and keeps pushing her away to the degree that at one point he slaps her as she tries to kiss him. She escapes from home at every chance seeking male attention from wherever she can get it.

James' parents are a little overblown and too quickly resolved at the end. But the appearance of an "emasculated" Jim Backus (he wears an apron in case we don't quite get it!) is a sight for sore eyes. A little dated in the world of today but so far ahead of its time in 1955.

9 out 10. Satisfying on many levels.

I was quite impressed with _Rebel Without a Cause_. I expected it to be quite standard, having only gathered its reputation because of the tragedy surrounding James Deans' death. Fortunately, it stood up on its own quite well. Its superficial situations are somewhat dated, which was inevitable, but its themes remain potent after many decades.

The major theme is the burgeoning relationship between adults and their teenage children. All three of the main characters are at different stages in this process. Jim (James Dean) is surprisingly at the earliest stage of this. His mother is pretty distanced and unresponsive already, but he still seems to communicate well with his father (Jim Backus, who is amazing. His character's relationship with his wife also provides an interesting view into 1950s gender politics; in one scene, Backus is wearing a cooking apron, which is very obviously meant for a woman). Judy (Natalie Wood, whom I didn't even recognize here) is almost completely rejected by her father, who feels that her affection is out of place in her teenage years. Worst of all is Plato, both of whose parents have left him alone in the world. He tries desperately to make Jim and Judy his parents (although from this vantage point in time, Plato seems resoundingly sexually attracted to Jim, and he sees Judy as a threat to their relationship. Although the writer/director has denied that forever, no human being can watch it nowadays without that thought constantly crossing their mind).

The reason that I say this film is flawed lies in the actions of Plato near the end of the film. I felt his escalating insanity was kind of a cop-out. Instead of actually delving into Plato's true character and motives by having intelligent and realistic dialogue and actions, he is just made to go batty, wherein he spouts off his thoughts as if he were some eight year old or man-child. Plato may have been sycophantic throughout the film, but he was anything but a moron. His actions provide an easy way for the director/writer to answer all questions about his character, and then to facilitate an ending which is tragic, but more than a little contrived.

Despite what I feel is a cop-out ending, _Rebel Without a Cause remains a thoroughly powerful film. I liked it, and I'll never forget it. 9/10

In his three film trilogy James Dean worked with three of the best directors around, George Stevens in Giant, Elia Kazan in East of Eden, and Nicholas Ray for Rebel Without A Cause. The first two films came from the inspiration of two of the best American writers of the last century, Edna Ferber and John Steinbeck. But in Rebel Without A Cause the inspiration was director Nicholas Ray himself who wrote was nominated for an Oscar for Best Original Story for the screen.

The Fifties was certainly the era for those rebel type films, but Rebel Without A Cause is unique because it deals with these bored upper middle class kids. It's as different a film as The Wild One with Marlon Brando and those working class biker types or the urban school kids of The Blackboard Jungle as you can get. The problems of this crowd just don't seem as serious as those in the other two films.

But because of the quality performances of James Dean, Natalie Wood, and Sal Mineo you do sort of feel for these kids. Dean is a misfit like he was in East of Eden, in fact his parents have just moved because of trouble he'd gotten into in his previous school. Unlike in East of Eden where Dean had this almost godlike father in Raymond Massey who he felt he couldn't measure up to, in Rebel Without A Cause he's dealing with Jim Backus who's an ineffectual henpecked sort with Ann Doran and her mother, Virginia Brissac. Dean himself was raised by an aunt and uncle in Indiana so he could identify with both Cal Trask and Jim Stark. Come to think of it you could include Jett Rink in there as well.

Natalie Wood also has father problems, William Hopper who just doesn't know how to deal with the fact that 'daddy's little girl' is blossoming into womanhood. Her mother, Rochelle Hudson, is one of those who looks like she's suffering a permanent headache and has abandoned the family ship to dear old dad. It's more an absence of mother and Hopper trying to do both roles which he just can't handle.

But Dean and Wood have parents. Sal Mineo is being raised by the maid in his very wealthy home. He's got all the material things, but he's a rather geeky kid who just doesn't fit in. He's also experiencing latent homosexuality in an age where that was the worst thing on the planet to be and no visible gay community to tell you it wasn't. By the way Marietta Canty as the maid is outstanding in this film, she's miles away from the maid roles of Louise Beavers and Hattie McDaniel.

So these three find each other and find a gang of kids who race their expensive automobiles against each other for speed and against each other for daring in the famous 'chicken run' scene. When the gang leader Corey Allen is killed racing against Dean, he becomes a kind of martyr to them and trouble brews for our three misfits.

Both Natalie Wood and Sal Mineo were nominated for Best Supporting Actress and Best Supporting Actor. Wood lost to Jo Van Fleet from that other James Dean classic East of Eden and Mineo lost to Jack Lemmon in Mr. Roberts. As for Dean he was up that year posthumously for East of Eden.

It wasn't only James Dean's tragic death that made him a legend. He was getting acclaim for his performance in East of Eden when he was killed on September 30, 1955. His stunning impact came after his death as fans were mesmerized by the promise of things to come in Rebel Without A Cause which came out about four weeks later and with Giant which Dean had just wrapped shooting on. This dead actor had film fans talking everywhere right up to the Oscars of 1957 ceremony where he was nominated for 1956's Giant. If ever a player left the scene with fans begging for more it was James Dean.

Seen today over 50 years later Rebel Without A Cause still remains the ultimate film in teen angst. I think it's destined to be so for generations to come.