James Dean Movies
In little more than a year's time and after appearing in only three feature films, James Byron Dean became one of the most admired screen stars of all time, achieving cult status and becoming an icon of American culture. The son of a dental technician, Dean was born in Marion, IN, an unprepossessing Midwestern burg that has since become a shrine to Dean aficionados. At five, Dean moved to Los Angeles with his family. Four years later, his mother died, and he was returned to the Midwest, to be cared for by relatives on their Fairmount, IN, farm. Upon graduation from high school, he returned to California and attended Santa Monica Junior College and U.C.L.A., later gravitating to acting, first with James Whitmore's workshop group, then in television commercials. His earliest existing film appearance was as one of Christ's apostles in "Hill Number One," a 1951 episode of the TV religious series Family Theatre. Working as a busboy between acting engagements in New York, he was given his first Broadway break in the short-lived The Jaguar. Dean soon began receiving uncredited bit parts in Hollywood films, the most prominent of which was his tongue-twisting turn as a soda emporium customer in Universal's Has Anybody Seen My Gal? (1952). Then it was back to New York, where he observed classes at the Actors' Studio. While making a few scattered live-TV appearances, Dean paid the bills by working as a "test pilot" on the audience-participation series Beat the Clock, walking through the various stunts in rehearsal to see if "normal" people could perform them during the telecast. Upon being cast in the Broadway play The Immoralist, he was compelled to give up his Beat the Clock job to another aspiring actor, Warren Oates.Creating a sensation as an Arab gigolo in The Immoralist, Dean came to the attention of director Elia Kazan, who'd previously brought the "Method" to the masses by casting Marlon Brando in A Streetcar Named Desire (1951) and Viva Zapata! (1952). Sensing an embryonic Brando in Dean, Kazan cast the sensitive young actor as Cal Trask in the 1955 film adaptation of Steinbeck's East of Eden. Playing a hell-raising teenager who yearned openly and unashamedly to be loved and accepted by his rigid and taciturn father (Raymond Massey), Dean "spoke" to the disenfranchised youth of the Eisenhower era far more eloquently than any previous actor. Dean carried his loner persona over into his next film, Rebel Without a Cause (1955). Even after four decades, this Nicholas Ray-directed film remains the quintessential misunderstood-teen flick. While Rebel was in production, East of Eden hit the theaters, stirring up the first signs of Dean's staggering popularity -- what would later become the "James Dean Cult." Knowing they had a gold mine on their hands, Warner Bros. instantly upped the budget of Rebel, scrapping the black-and-white footage that had already been shot and starting the whole project over in color and Cinemascope. Now committed to a seven-year contract at Warners, Dean was afforded third billing to Rock Hudson and Elizabeth Taylor in Giant, director George Stevens' epic cinemazation of Edna Ferber's best-seller. As Jett Rink, Dean once more played the brooding outsider, this time separated from his heart's desire by his lowly station in life. Even when cast in a villainous light, however, Dean remains the most fascinating presence in the film, especially in his brilliantly choreographed climactic drunk scene. Dean plays the cast-off loner in all three of his starring features, unable to draw attention to himself until forcing the issue.
Off camera, Dean unfortunately possessed a fascination with fast cars. Upon completing Giant, he piled into his new 7,000 dollar Porsche and zoomed off to a racing event in Salinas. Traveling 115 miles an hour, Dean was killed in a head-on crash just outside Paso Robles, CA. The hysterical outpouring of grief that attended his death had not been witnessed by the motion picture community since the demise of Rudolph Valentino in 1926. The cult worship of James Dean assumed a variety of shapes, sizes, and degrees. Book upon book has been written about Dean's short life; original poster art from his films has been auctioned off at astronomical prices and two full-length biopics have been produced: the hastily cobbled together The James Dean Story (1957) and the made-for-TV James Dean (1976), the latter project based on the memoirs of Dean's roommate, James Bast, and starring Stephen McHattie. After Dean's death, two of the actor's scheduled post-Giant projects, the 1955 TV musical adaptation of Our Town and the 1956 Rocky Graziano biopic Somebody Up There Likes Me, were both re-cast with Paul Newman. It is quite possible that the James Dean mystique, which persists to the present day, might not have been as intense had he lived longer, but like so many others untimely ripped from our midst -- Jean Harlow, Marilyn Monroe, John Lennon -- James Dean has transcended mere idol status and entered the hallowed halls of Legend. ~ Hal Erickson, Rovi
James Dean: Forever Young documents the brief but memorable career of the now iconic James Dean. The film focuses much attention on his early work for television, and utilizes a variety of archival footage in order to ale the tale of the young man who gained immortality with only three feature films to his credit. ~ Perry Seibert, Rovi
James Dean: Sense Memories documents the short but brilliant career of the iconic James Dean. Combining interviews given by some of those who worked with him and archival footage, this American Masters film attempts to explain how Dean's talent and acting style helped make him a superstar and helped maintain his legend in death. ~ Perry Seibert, Rovi
- 1990
This delightful collection of commercials and the stars that hocked the products is featured in this video. ~ Rovi
- 1989
In a tribute to the 1950s, this documentary depicts the era through such memorable personalities as Marilyn Monroe, James Dean, and Elvis Presley. Also shown are news events such as the Korean War and the launching of Sputnik. ~ Rovi
- 1988
In the 1988 documentary Forever James Dean, we see Dean in his first appearance on film, in a Pepsi Cola commercial. We see a color vignette from the 1951 religious TV special Hill Number One, with Dean as a Biblical apostle describing the Resurrection. We watch Dean honing his craft in clips from such network TV dramas as "I'm a Fool" and "The Unlighted Road". We are treated to choice selections from his trio of starring films: East of Eden, Rebel Without a Cause and Giant. And we are invited to cringe at Dean's ominous "Drive carefully" warning during a staged interview with Gig Young. ~ Hal Erickson, Rovi
- 1988
This video offers an inside look at some of Hollywood's most infamous stories. Sex scandals, drug addiction, money troubles, mysterious deaths, and the private turmoil accompanying fame and fortune are examined. Some of the celebrities profiled are James Dean, Vivien Leigh, Rock Hudson, and Frances Farmer. ~ Sarah Block, Rovi
- 1985
This documentary video features vintage film clips, videotape and photographs and interviews with friends of James Dean. ~ Rovi
- 1984
Wanna see a movie in 3 minutes? Then Adventure 1: Trailers on Tape is right up your alley. Here is a collection of some of Hollywood's finest "trailers" -- not the mobile-home variety, but instead those "previews of coming attractions" reels that have whetted viewers' appetites over the past six decades. This volume features the original theatrical trailers for such classics as Lost Horizon (1937), The Wild One (1954), From Russia With Love (1964), Torn Curtain (1965) and Wild in the Streets (1968). Forty titles in all are represented in this entertaining blast from the past. ~ Hal Erickson, Rovi
- 1983
Rather than a compilation of a series of hilarious bloopers, plus scenes of current stars never-before shown to the public, this collection of film clips focuses on a Hollywood of long ago. Stars from Warner Bros. in the 1930s and '40s are shown in out-takes that mainly illustrate their short tempers (James Cagney and Humphrey Bogart among them), while a variety of clips, including screen tests (Marilyn Monroe) catch famous actors from the 1930s to the '60s in ironic or very youthful and naive moments. The humor, when it occurs, depends on the viewpoint of the beholder: "At Home with Joan Crawford" shows her putting her children to sleep while a voiceover says "Good-night Mommy Dearest." James Dean discusses the dangers of fast driving on the highway in one clip filmed not long before he was killed in a head-on collision, driving 115 mph near Paso Robles. Judy Garland sings Over the Rainbow in a radio show with Bob Hope that was captured on film. Another short made in 1937 shows Constance Bennett demonstrating her beauty secrets; others show Bette Davis promoting war bonds in the 1940s, and Shirley Temple doing a segment for the Red Cross. For anyone interested in Hollywood stars, these film clips are curiosities that reveal more than just the screen persona of actors who were "manufactured in Hollywood." ~ Eleanor Mannikka, Rovi
- 1975
- Add James Dean: The First American Teenager to Queue Add James Dean: The First American Teenager to top of Queue
In this documentary, narrated by Stacy Keach, the tragic screen-icon James Dean is remembered. Footage from early television appearances, stills from his life, and clips from his three Warner Brothers films are interwoven with interviews with his co-workers. The soundtrack includes music from Elton John, David Bowie, and the Eagles. ~ Clarke Fountain, Rovi
A cut above the usual cheesy paste-up "tribute", The James Dean Story is imbued with a modicum of style thanks to fledgling film-director Robert Altman. Most of the film consists of clips from Dean's three starring pictures (East of Eden, Rebel Without a Cause and Giant), with tantalizing glimpses of his pre-star career. One such glimpse, a snippet from the 1951 TV religious special Hill Number One, has popped up in virtually every Dean retrospective since. Altman's inherent cinematic gifts are evident in the impressionistic "re-enactment" of Dean's fatal auto crash. Narrated by Martin Gabel, The James Dean Story isn't terribly deep, but it's a good shorthand overview of one of the most powerful screen presences of the 1950s. ~ Hal Erickson, Rovi
George Stevens' sprawling adaptation of Edna Ferber's best-selling novel successfully walks a fine line between potboiler and serious drama for its 210-minute running time, making it one of the few epics of its era that continues to hold up as engrossing entertainment across the decades. Giant opens circa 1922 in Maryland, where Texas rancher Jordan "Bick" Benedict (Rock Hudson) has arrived to buy a stallion called War Winds from its owner, Dr. Horace Lynnton (Paul Fix). But much as Bick loves and knows horses, he finds himself even more transfixed by the doctor's daughter, Leslie Lynnton (Elizabeth Taylor), and after some awkward moments, she has to admit that she's equally drawn to the shy, laconic Texan. They get married and Leslie spends her honeymoon traveling with Jordan to his ranch, Reata, which covers nearly a million acres of Texas. Once there, however, she finds that she has to push her way into her rightful role as mistress of the house, past Bick's sister, Luz (Mercedes McCambridge), who can't accept her brother's marriage or the changes it means in the home they share. Also working around Reata is the laconic ranch hand Jett Rink (James Dean) -- from a family as rooted in Texas as the Benedicts but not nearly as lucky (or "foxy"), Jett is dirt-poor and barely educated at all, and he fairly oozes resentment at Bick for his arrogance, although Luz likes him and for that reason alone Bick is obliged to keep him on. One thing Jett does have in common with his employer is that he is in awe of Leslie's beauty; another is his nearly total contempt for the Mexican-Americans who work for them -- Jett and Bick may have contempt for each other, but either one is just as likely to dismiss the Mexican-Americans around them as a bunch of shiftless "wetbacks." Luz feels so threatened with a loss of power and control that she decides to assert herself with War Winds, yet another "prize" that Bick brought back from Maryland that resists her authority -- then decides to ride the stallion despite being warned that no one but Leslie is wholly safe on him, and spurs him brutally in an effort to break him, which ends up destroying them both in the battle of wills she starts.
After Luz's death, Jett learns that she left him a tiny piece of land for his own, on Reata, which he refuses to sell back to Bick, preferring to keep it for his own and maybe prospect for oil on it. Meanwhile, Leslie and Bick have their own problems -- Leslie can't abide the wretched conditions in which the Mexican families who work on Reata are allowed to live, taking a special interest in Mr. and Mrs. Obregon and their baby, Angel; but Bick doesn't want his wife, or any member of his family, concerning themselves with "those people." Leslie's humanity and her independence push their marriage to the limit, but Bick comes to accept this in his wife, and in four years of marriage they have three handsome children, a boy and two girls, and a loving if occasionally awkward home life. Meanwhile, Jett strikes oil on his land -- which he's named Little Reata -- and in a couple of years he's on his way to becoming the richest man in Texas, getting drilling contracts on all of the land in the area (except Reata) and making more money than the Benedicts ever saw from raising cattle. Bick is almost oblivious to the way Jett grows in power and influence across the years and the state, mostly because he's got his own family to worry about, including a son, Jordan III (Dennis Hopper), who doesn't want to take over the ranch from him, but wants instead to be a doctor; an older daughter, Judy (Fran Bennett), who wants to study animal husbandry and marry a local rancher (Earl Holliman) and start a tiny spread of her own; and a younger daughter, Luz (Carroll Baker), who's just a bit man-crazy and star-struck by the movies.
The American entry into the Second World War and the resulting need for oil forces Bick to go into business with Jett and allow him to drill on Reata, and suddenly the Benedicts are wealthy enough to be part of Jett Rink's circle, which includes the governor of the state and at least one United States senator at his beck and call -- and Luz develops a serious crush on Jett, who likes his women young and is especially attracted to her, as Bick's and Leslie's daughter. Young Jordan marries Juana, a Mexican-American nursing student (Elsa Cardenas), and his father accepts it begrudgingly, with help from Leslie. The war kills Angel Obregon (Sal Mineo), a death that even affects Bick, but the Benedict family gets through it wealthier than ever and grows some more with the birth of Jordan IV to Jordie and Juana. When the family attends a gala opening of Jett Rink Airport, which concludes with a dinner honoring Jett's success, however, young Jordan's wife is humiliated by Jett's racist edicts, and he is beaten up by Jett's men after punching the oil baron. Seeing this, Bick challenges his old rival to the fight that's been brewing for a quarter of a century and wins by default, Jett being too drunk to defend himself or to hit; he's also too drunk to make the grand speech that was to climax the celebration, and he ends up alone in the ballroom. The Benedicts have it out with each other, young Jordan accusing his father of being as much a racist as Jett, and Leslie caught in the middle between her husband and her son. It looks like the Benedicts may lose each other, until an encounter with a racist diner owner forces Bick to stand up and get knocked down (more than once) defending his daughter-in-law and his grandson.
Seen today, Giant seems the least dated of any of James Dean's three starring films, in part because it addresses issues that remain relevant more than 50 years later, and also because it has the best all-around acting and the best script of any of the three. Taken in broader terms, it's even better, with two of the best performances that Elizabeth Taylor and Rock Hudson ever gave, and perhaps the second best of Hudson's whole career (after Seconds) -- the only unfortunate element at modern theatrical screenings is the tendency of younger viewers, who only know him in terms of the revelations late in his life of his being gay, to laugh and snicker at elements of Hudson's characterization; but his work is so good that the titters usually fade after the first 30 minutes or so. ~ Bruce Eder, Rovi
After Luz's death, Jett learns that she left him a tiny piece of land for his own, on Reata, which he refuses to sell back to Bick, preferring to keep it for his own and maybe prospect for oil on it. Meanwhile, Leslie and Bick have their own problems -- Leslie can't abide the wretched conditions in which the Mexican families who work on Reata are allowed to live, taking a special interest in Mr. and Mrs. Obregon and their baby, Angel; but Bick doesn't want his wife, or any member of his family, concerning themselves with "those people." Leslie's humanity and her independence push their marriage to the limit, but Bick comes to accept this in his wife, and in four years of marriage they have three handsome children, a boy and two girls, and a loving if occasionally awkward home life. Meanwhile, Jett strikes oil on his land -- which he's named Little Reata -- and in a couple of years he's on his way to becoming the richest man in Texas, getting drilling contracts on all of the land in the area (except Reata) and making more money than the Benedicts ever saw from raising cattle. Bick is almost oblivious to the way Jett grows in power and influence across the years and the state, mostly because he's got his own family to worry about, including a son, Jordan III (Dennis Hopper), who doesn't want to take over the ranch from him, but wants instead to be a doctor; an older daughter, Judy (Fran Bennett), who wants to study animal husbandry and marry a local rancher (Earl Holliman) and start a tiny spread of her own; and a younger daughter, Luz (Carroll Baker), who's just a bit man-crazy and star-struck by the movies.
The American entry into the Second World War and the resulting need for oil forces Bick to go into business with Jett and allow him to drill on Reata, and suddenly the Benedicts are wealthy enough to be part of Jett Rink's circle, which includes the governor of the state and at least one United States senator at his beck and call -- and Luz develops a serious crush on Jett, who likes his women young and is especially attracted to her, as Bick's and Leslie's daughter. Young Jordan marries Juana, a Mexican-American nursing student (Elsa Cardenas), and his father accepts it begrudgingly, with help from Leslie. The war kills Angel Obregon (Sal Mineo), a death that even affects Bick, but the Benedict family gets through it wealthier than ever and grows some more with the birth of Jordan IV to Jordie and Juana. When the family attends a gala opening of Jett Rink Airport, which concludes with a dinner honoring Jett's success, however, young Jordan's wife is humiliated by Jett's racist edicts, and he is beaten up by Jett's men after punching the oil baron. Seeing this, Bick challenges his old rival to the fight that's been brewing for a quarter of a century and wins by default, Jett being too drunk to defend himself or to hit; he's also too drunk to make the grand speech that was to climax the celebration, and he ends up alone in the ballroom. The Benedicts have it out with each other, young Jordan accusing his father of being as much a racist as Jett, and Leslie caught in the middle between her husband and her son. It looks like the Benedicts may lose each other, until an encounter with a racist diner owner forces Bick to stand up and get knocked down (more than once) defending his daughter-in-law and his grandson.
Seen today, Giant seems the least dated of any of James Dean's three starring films, in part because it addresses issues that remain relevant more than 50 years later, and also because it has the best all-around acting and the best script of any of the three. Taken in broader terms, it's even better, with two of the best performances that Elizabeth Taylor and Rock Hudson ever gave, and perhaps the second best of Hudson's whole career (after Seconds) -- the only unfortunate element at modern theatrical screenings is the tendency of younger viewers, who only know him in terms of the revelations late in his life of his being gay, to laugh and snicker at elements of Hudson's characterization; but his work is so good that the titters usually fade after the first 30 minutes or so. ~ Bruce Eder, Rovi
- Starring:
- Elizabeth Taylor, Rock Hudson, (more)
This truncated screen version of John Steinbeck's best-seller was the first starring vehicle for explosive 1950s screen personality James Dean, who plays Cal Trask, the "bad" son of taciturn Salinas valley lettuce farmer Adam Trask (Raymond Massey). Although he means well, Cal can't stay out of trouble, nor is he able to match the esteem in which his father holds his "good" brother Aron (Richard Davalos). Only Aron's girlfriend Abra (Julie Harris) and kindly old sheriff Sam Burl Ives) can see the essential goodness in the troublesome Cal. When Adam invests in a chancy and wholly unsuccessful method of shipping his crops east, his wealth plummets. In an effort to save the business, Cal obtains money from his estranged mother (the proprietor of a whorehouse) and invests it in a risky new bean crop. The gamble pays off (thanks in no small part to the war), but Adam refuses to take the money from Cal, and the resultant quarrel causes Adam to have a stroke. Released the same year as Rebel Without a Cause, East of Eden provided Dean with his first Oscar nomination, for Best Actor. ~ Hal Erickson, Rovi
- Starring:
- Julie Harris, James Dean, (more)
This landmark juvenile-delinquent drama scrupulously follows the classic theatrical disciplines, telling all within a 24-hour period. Teenager Jimmy Stark (James Dean) can't help but get into trouble, a problem that has forced his appearance-conscious parents (Jim Backus and Ann Doran) to move from one town to another. The film's tormented central characters are all introduced during a single night-court session, presided over by well-meaning social worker Ray (Edward Platt). Jimmy, arrested on a drunk-and-disorderly charge, screams "You're tearing me apart!" as his blind-sided parents bicker with one another over how best to handle the situation. Judy (Natalie Wood) is basically a good kid but behaves wildly out of frustration over her inability to communicate with her deliberately distant father (William Hopper). (The incestuous subtext of this relationship is discreetly handled, but the audience knows what's going on in the minds of Judy and her dad at all times.) And Plato (Sal Mineo), who is so sensitive that he threatens to break apart like porcelain, has taken to killing puppies as a desperate bid for attention from his wealthy, always absent parents.
The next morning, Jimmy tries to start clean at a new high school, only to run afoul of local gang leader Buzz (Corey Allen), who happens to be Judy's boyfriend. Anxious to fit in, Jimmy agrees to settle his differences with a nocturnal "Chickie Run": he and Buzz are to hop into separate stolen cars, then race toward the edge of a cliff; whoever jumps out of the car first is the "chickie." When asked if he's done this sort of thing before, Jimmy lies, "That's all I ever do." This wins him the undying devotion of fellow misfit Plato. At the appointed hour, the Chickie Run takes place, inaugurated by a wave of the arms from Judy. The cars roar toward the cliff; Jimmy is able to jump clear, but Buzz, trapped in the driver's set when his coat gets caught on the door handle, plummets to his death. In the convoluted logic of Buzz' gang, Jimmy is held responsible for the boy's death. For the rest of the evening, he is mercilessly tormented by Buzz' pals, even at his own doorstep. After unsuccessfully trying to sort things out with his weak-willed father, Jimmy runs off into the night. He links up with fellow "lost souls" Judy and Plato, hiding out in an abandoned palatial home and enacting the roles of father, mother, and son. For the first time, these three have found kindred spirits -- but the adults and kids who have made their lives miserable haven't given up yet, leading to tragedy. Out of the bleakness of the finale comes a ray of hope that, at last, Jimmy will be truly understood.
Rebel Without a Cause began as a case history, written in 1944 by Dr. Robert Lindner. Originally intended as a vehicle for Marlon Brando, the property was shelved until Brando's The Wild One (1953) opened floodgates for films about crazy mixed-up teens. Director Nicholas Ray, then working on a similar project, was brought in to helm the film version. His star was James Dean, fresh from Warners' East of Eden. Ray's low budget dictated that the new film be lensed in black-and-white, but when East of Eden really took off at the box office, the existing footage was scrapped and reshot in color. This was great, so far as Ray was concerned, inasmuch as he had a predilection for symbolic color schemes. James Dean's hot red jacket, for example, indicated rebellion, while his very blue blue jeans created a near luminescent effect (Ray had previously used the same vivid color combination on Joan Crawford in Johnny Guitar). As part of an overall bid for authenticity, real-life gang member Frank Mazzola was hired as technical advisor for the fight scenes. To extract as natural a performance as possible from Dean, Ray redesigned the Stark family's living room set to resemble Ray's own home, where Dean did most of his rehearsing. Speaking of interior sets, the mansion where the three troubled teens hide out had previously been seen as the home of Norma Desmond in Sunset Boulevard. Of the reams of on-set trivia concerning Rebel, one of the more amusing tidbits involves Dean's quickie in-joke impression of cartoon character Mr. Magoo -- whose voice was, of course, supplied by Jim Backus, who played Jimmy's father. Viewing the rushes of this improvisation, a clueless Warner Bros. executive took Dean to task, saying in effect that if he must imitate an animated character, why not Warners' own Bugs Bunny? Released right after James Dean's untimely death, Rebel Without a Cause netted an enormous profit. The film almost seems like a eulogy when seen today, since so many of its cast members -- James Dean, Natalie Wood, Sal Mineo, Nick Adams -- died young. ~ Hal Erickson, Rovi
The next morning, Jimmy tries to start clean at a new high school, only to run afoul of local gang leader Buzz (Corey Allen), who happens to be Judy's boyfriend. Anxious to fit in, Jimmy agrees to settle his differences with a nocturnal "Chickie Run": he and Buzz are to hop into separate stolen cars, then race toward the edge of a cliff; whoever jumps out of the car first is the "chickie." When asked if he's done this sort of thing before, Jimmy lies, "That's all I ever do." This wins him the undying devotion of fellow misfit Plato. At the appointed hour, the Chickie Run takes place, inaugurated by a wave of the arms from Judy. The cars roar toward the cliff; Jimmy is able to jump clear, but Buzz, trapped in the driver's set when his coat gets caught on the door handle, plummets to his death. In the convoluted logic of Buzz' gang, Jimmy is held responsible for the boy's death. For the rest of the evening, he is mercilessly tormented by Buzz' pals, even at his own doorstep. After unsuccessfully trying to sort things out with his weak-willed father, Jimmy runs off into the night. He links up with fellow "lost souls" Judy and Plato, hiding out in an abandoned palatial home and enacting the roles of father, mother, and son. For the first time, these three have found kindred spirits -- but the adults and kids who have made their lives miserable haven't given up yet, leading to tragedy. Out of the bleakness of the finale comes a ray of hope that, at last, Jimmy will be truly understood.
Rebel Without a Cause began as a case history, written in 1944 by Dr. Robert Lindner. Originally intended as a vehicle for Marlon Brando, the property was shelved until Brando's The Wild One (1953) opened floodgates for films about crazy mixed-up teens. Director Nicholas Ray, then working on a similar project, was brought in to helm the film version. His star was James Dean, fresh from Warners' East of Eden. Ray's low budget dictated that the new film be lensed in black-and-white, but when East of Eden really took off at the box office, the existing footage was scrapped and reshot in color. This was great, so far as Ray was concerned, inasmuch as he had a predilection for symbolic color schemes. James Dean's hot red jacket, for example, indicated rebellion, while his very blue blue jeans created a near luminescent effect (Ray had previously used the same vivid color combination on Joan Crawford in Johnny Guitar). As part of an overall bid for authenticity, real-life gang member Frank Mazzola was hired as technical advisor for the fight scenes. To extract as natural a performance as possible from Dean, Ray redesigned the Stark family's living room set to resemble Ray's own home, where Dean did most of his rehearsing. Speaking of interior sets, the mansion where the three troubled teens hide out had previously been seen as the home of Norma Desmond in Sunset Boulevard. Of the reams of on-set trivia concerning Rebel, one of the more amusing tidbits involves Dean's quickie in-joke impression of cartoon character Mr. Magoo -- whose voice was, of course, supplied by Jim Backus, who played Jimmy's father. Viewing the rushes of this improvisation, a clueless Warner Bros. executive took Dean to task, saying in effect that if he must imitate an animated character, why not Warners' own Bugs Bunny? Released right after James Dean's untimely death, Rebel Without a Cause netted an enormous profit. The film almost seems like a eulogy when seen today, since so many of its cast members -- James Dean, Natalie Wood, Sal Mineo, Nick Adams -- died young. ~ Hal Erickson, Rovi
- Starring:
- James Dean, Natalie Wood, (more)
- 1954
One of the most famous of the pre-East of Eden TV appearances by the immortal James Dean, this 30-minute adaptation of Sherwood Anderson's short story "I'm a Fool" originally aired live as the November 14, 1954 episode of the CBS anthology General Electric Theater. Narrated by Eddie Albert, this is an extended flashback, wherein a young country boy (Dean), working in a menial job in a middle-sized midwestern town, falls in love with that town's prettiest gal, Lucy (Natalie Wood). Aware that Lucy is already being courted by the wealthier youths in the vicinity, the boy tries to impress the girl by pretending to be something he's not. Only when it is too late does he realize that he would have been far, far better off simply being "himself" (it gives away nothing to reveal that Eddie Albert and James Dean essentially play the same character). Worth noting is the play's impressionistic staging, using fragmentary sets and minimal props, and the remarkable chemistry between James Dean and Natalie Wood, even before they were paired in Rebel without a Cause. On November 18, 1956, nearly a year after Dean's untimely death, a kinescope of "I'm a Fool" was rebroadcast on General Electric Theatre by popular request (at least according to host Ronald Reagan); it is this rerun version that is currently available on home video. ~ Hal Erickson, Rovi
"Winning isn't everything -- it's the only thing." These words were spoken not by Green Bay Packers coach Vince Lombardi but by Steve Williams, the fictional college athletics instructor played by John Wayne in Trouble Along the Way. Recently divorced, Williams has trouble finding a job due to his inability to get along with his superiors. If he doesn't find work soon, he'll lose custody of his daughter Carole (Sherry Jackson). Meanwhile, St. Anthony's College, heavily in debt, may have to close its doors. Father Burke, rector of St. Anthony's, reasons that the school could get back on its feet if it had a winning football team, thereby securing the support of the alumni. Thus, against his better judgment, Father Burke hires the troublesome Steve Williams, who'll stop at nothing to assemble a winning team. Somehow, Williams has to turn into a regular human being, and that's where social worker Alice Singleton (Donna Reed) comes in. More sentimental than most Wayne vehicles, Trouble Along the Way is well worth the ride. ~ Hal Erickson, Rovi
- Starring:
- John Wayne, Donna Reed, (more)
- 1952
Douglas Sirk directed this frothy musical comedy set in the 1920s starring Charles Coburn as Samuel Fulton, an elderly man with a multi-million dollar fortune. With no family of his own to whom he can leave his money, Fulton is pondering what to do with his estate. Years ago, he was in love with a woman named Harriet, whom he asked to marry. She turned him down and married another someone else, but he's still fond of her and considers leaving his millions to her family. However, Fulton decides to first give them a test. Posing as an eccentric and threadbare artist, he rents a room from Harriet (Lynn Bari) and her husband Charles (Larry Gates). He then arranges for an anonymous gift of $100,000 to be presented to them so that he can watch their reactions. Sadly, things don't go well; Harriet browbeats the rest of the family into moving into a mansion and tries to convince her daughter Millicent (Piper Laurie) to break up with her boyfriend, poor but good-hearted soda jerk Dan (Rock Hudson), in favor of a wealthier and more socially prominent man. Songs include "Tiger Rag," "When the Red, Red Robin Comes Bob-Bob-Bobbin' Along," "It Ain't Gonna Rain No More," and "Gimme a Little Kiss, Will Ya, Huh?" James Dean has a tiny part as a customer at the soda fountain; it was his first appearance onscreen. ~ Mark Deming, Rovi
- Starring:
- Piper Laurie, Rock Hudson, (more)
- 1951
Filmed in color, the 60-minute Hill Number One was an episode of the TV religious anthology Family Theatre. Father Patrick Peyton hosts this star-studded Easter special, wherein the story of the Resurrection is told in flashback form at a contemporary family gathering. As always, Fr. Peyton has assembled an impressive cast, including Roddy McDowell, Michael Ansara, Leif Erickson and Ruth Hussey. What makes this special truly special is the early appearance by James Dean, who delivers an earnest, non-mumbling performance as the apostle John. Dean's brief scenes have since been excerpted in many a TV documentary devoted to the late actor's career. ~ Hal Erickson, Rovi
To filmmaker and war veteran Samuel Fuller, war is about survival. You either kill or be killed. His combat films are not about politics, adventure, or home. They are about killing and staying alive. Fixed Bayonets, Fuller's second study of the Korean War, focuses on a neophyte corporal, Denno (Richard Basehart), who is afraid to take a life. When his division is forced down Korea's snowbound mountains, Denno's unit stays behind to cover its retreat. Entrenched in an icy cave, Denno watches his superiors get picked off one by one until he must take command. He soon learns of what he is truly capable and what he will do to survive: Denno learns to kill. Filmed and released during the Korean War, Fixed Bayonets offered audiences no respite from the harrowing, difficult combat. It also introduced a new arena into modern American combat films -- freezing, icy terrain. The actors were so unaccustomed to the ice (that Fuller had actually frozen onto the set), that several men injured themselves within the first week of shooting. Many of the wounded in the film are simply ailing performers who Fuller kept on set so they could still receive their paychecks! ~ Aubry Anne D'Arminio, Rovi
- Starring:
- Richard Basehart, Gene Evans, (more)
Rating Systems
Blockbuster
BLOCKBUSTER name, design and related marks are trademarks of Blockbuster L.L.C.
2013 Blockbuster L.L.C. All rights reserved.
Portions of Content Provided by Rovi Corporation. 2013 Rovi Corporation.