Brick, an alcoholic ex-football player, drinks his days away and resists the affections of his wife, Maggie. His reunion with his father, Big Daddy, who is dying of cancer, jogs a host of memories and revelations for both father and son.
A biopic about the actor James Dean, whose stardom of the ultimate teenage rebel as well as the premature death made him a legend. His roles are depicted having much in common with his ... See full summary »
Jim Stark is the new kid in town. He has been in trouble elsewhere; that's why his family has had to move before. Here he hopes to find the love he doesn't get from his middle-class family. Though he finds some of this in his relation with Judy, and a form of it in both Plato's adulation and Ray's real concern for him, Jim must still prove himself to his peers in switchblade knife fights and "chickie" games in which cars race toward a seaside cliff. Written by
Ed Stephan <firstname.lastname@example.org>
Ann Doran said, "Jimmy [James Dean] did most of the directing. He gave us our lines; he dominated the entire thing." Dean's and Nicholas Ray's working relationship was equally bizarre. Ray often rehearsed with Dean at his Chateau Marmont bungalow, and felt the energy between them there was so powerful that he actually recreated his own living room on the set to inspire Dean. Doran also recalled, "Jimmy was a strange boy. On the first day, Jim Backus couldn't believe it. We were watching Jimmy doing his scene and someone had said, 'Quiet, we're going to shoot now.' And they got up speed and were ready for action. Jimmy went down on the floor in the fetal position for the longest time. It seemed like half a can of film . . . and Nick said, 'Action.' Jimmy stood up and went into the scene . . . [Jim and I] had never seen this "Method" of doing things. Nick seemed to be mesmerized by Jimmy". See more »
When Plato arrives at the mansion just after Judy and Jim do, after talking briefly, they let him into the house. When he walks into the house and comes up the stairs, a cord is clearly visible dragging on the ground behind him. Probably a cord for the microphone. See more »
First police officer:
Get up, get up. Mixed up in that beating on 12th street, huh?
Second police officer:
No. Plain drunkenness.
See more »
I had high expectations for this "classic" and was sorely disappointed. The good: Nice to see some not-over-the-top fight/scuffle scenes (in today's movies the fight scenes usually involve each participant receiving at least a dozen lethal blows). Nice to see some familiar faces (Maria, Thurston Howell, The Chief) in their (relative) youth.
These tiny saving graces are greatly overwhelmed by the bad: Ridiculous, unconvincing plot. Bad dialog. Caricaturesque characters. I can forgive the movie for not having stood the test of time (few movies from the 50s do), but hard to believe it was even considered a good movie at the time. I can only attribute the stratospheric stature of the film to the untimely death of James Dean. Purple Haze would have been a great song had Hendrix not died... but Rebel Without A Cause would be as forgotten as Curtain Call at Cactus Creek had James Dean lived to be 90. Or maybe even 30.
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