Back to School #4: Rebel Without A Cause (dir by Nicholas Ray)

Posted on August 23, 2014 by Lisa Marie Bowman

You may have heard of this one.

Traditionally, films about teenagers tend to age terribly. The language, the clothes, the attitudes, and even the humor; it’s all usually out-of-date within five years or so. One need only watch something like A Summer Place to both see how dated a film can become and to see how one generation’s idol can appear rather ludicrous to future generations. (And yes, I am talking about Troy Donahue…) What makes Rebel Without A Cause unique is that it’s a movie about teenagers that was released way back in 1955 and yet, nearly 60 years later, it still feels fresh and relatable.

Of course, it helps that the title character is played by James Dean who, to put it lightly, was no Troy Donahue.

Rebel Without A Cause tells the story of three alienated teenagers trying to survive in the suburbs of Los Angeles. (“…and they all came from good homes!” the film’s poster informs us.) Plato (Sal Mineo) is a painfully sensitive 15 year-old who has been abandoned by his parents and is being raised by the family’s maid. (Since this movie was made in 1955, the fact that Plato is gay is obvious but never explicitly stated.) Judy (Natalie Wood) is the girlfriend of Buzz (Corey Allen) and is acting out because she feels that’s the only way she can can get her father to pay attention to her. And then there’s Jim Stark (James Dean), whose family has just moved to Los Angeles and who is constantly in the middle of the fights between his overbearing mother (Ann Doran) and his weak-willed father (Jim Backus).

During Jim’s first day at high school, he not only manages to make an enemy when Buzz spots him attempting to flirt with Judy but he also gets to go on a field trip to the Griffith Observatory, where the students are told that the entire universe is going to end eventually. After the field trip, Buzz challenges Jim to a knife fight. Jim agrees only after the rest of Buzz’s gang (including a young Dennis Hopper) accuse him of being “chicken.” However, after a security guard breaks up the fight, Buzz challenges Jim to a “chicken run.”

(People in the 50s were obsessed with chickens.)

That night, Jim and Buzz both drive stolen cars towards the edge of a cliff. The first driver to jump out of his car loses. Before they start their engines, Buzz smiles and tells Jim, “I like you.” Yay! Jim’s finally made a friend! Uh-oh, Buzz just drove over the cliff and his car exploded! Well, so much for that friendship. Now, with Buzz’s gang swearing revenge and their parents incapable of understand what happened, Jim, Judy, and Plato are on the run. They end up hiding out in an abandoned house and find a brief moment of happiness before the gang and the police show up to ruin everything.

The challenge of reviewing Rebel Without A Cause is trying to find a new way to say what everybody already knows. Rebel Without A Cause is a great film that’s distinguished by Nicholas Ray’s sensitive direction and James Dean’s iconic performance in the lead role. Whenever I see Rebel Without A Cause, I’m always struck by just how much unexpected nuance there is Dean’s interpretation of Jim Stark. We always think of James Dean as being the epitome of cool and I think we tend to forget that, at least in the beginning of the film, Jim is anything but that. Instead, he’s awkward and shy. His attempts to flirt with Judy lead to her calling him “a real yo-yo.” As much as he tried to fit in with the rest of his classmates, he’s a permanent outsider. (Just consider what happens with his infamous “moooo” during the presentation at the observatory.) He has a lot to say but he doesn’t know how to say it and every time that he tries to express what he’s feeling, he’s ignored by adults who don’t have the patience to listen. Dean brings such a raw intensity to these scenes that I always find myself wanting to reach out and hug him and tell him that everything’s going to be okay, even though I know that it’s not. Even today, it’s still easy to see why every teenager in the 50s either wanted to be or to be with Jim Stark.

Also, whenever I watch the film, I’m reminded of how much I relate to the character of Judy. I think that’s because, when I was 16, I might as well have been Judy. Natalie Wood’s performance might not be as showy as James Dean’s but it’s equally effective.

Of course, one reason why Rebel Without A Cause has become iconic is because James Dean died shortly after filming ended. (In fact, some of his scenes had to be redubbed by Dennis Hopper, who reportedly could do an exact imitation of Dean’s voice.) It’s interesting to wonder what would have become of James Dean if he had lived. Would he have continued to be one of our best actors or would he have eventually been forgotten or forced to appear on television? Personally, I like to think that James Dean would have remained a great actor but he would have been too much of an iconoclast to remain in Hollywood. Eventually, in my alternative universe, James Dean moved to Europe and teamed up with Klaus Kinski to star in a series of spaghetti westerns. And they were great.

As for Rebel Without A Cause, it remains a great movie nearly 60 years after it was first made. And really, what more needs to be said?

Film Review: A Cry In The Night (dir by Frank Tuttle)

Posted on September 1, 2013 by Lisa Marie Bowman

Thanks to TCM, I’ve gotten the chance to discover a lot of old films that I, otherwise, would have probably never even heard about. One of those films is A Cry In The Night, a low-budget, 1956 crime story that I randomly came across last month.

Harold Loftus (Raymond Burr) has issues. He lives in a shack, he’s totally dominated by his overbearing mother, and he spend most of his time secretly peeping at couples who are parked at the local lover’s lane. When he comes across Liz (Natalie Wood) and her boyfriend Owen (RIchard Anderson), he overpowers Owen and kidnaps Liz. Now, Owen must work with Liz’s overprotective policeman father, Dan (Edmond O’Brien), to track down Harold and Liz. Making things difficult is the fact that Dan blames Owen for the kidnapping and simply cannot bring himself to accept that his daughter was actually “one of those girls” who spent her Saturday night sitting in a car and sharing chaste kisses with her boyfriend.

(Seriously, the film made it sound like this was the worst possible thing that a girl could do with her time. I’m not sure if Dan was supposed to come across like a reactionary or if this was just a case of the film having been made in 1956. Personally, if that’s what the 50s were like, I’m glad I wasn’t born until the 80s.)

As directed by Frank Tuttle, A Cry In The Night tells its story in a stark, no-nonsense, semi-documentary manner. (There’s even narration at the beginning and end of the film.) O’Brien bellows his way through the role and Anderson’s colorless performance does little to make Owen seem like any less of a wimp. However, Raymond Burr makes for a disturbingly plausible pervert and Natalie Wood is well-cast as Liz. The film came out a year after Rebel Without A Cause and, watching her performance in A Cry In the Night, you can tell why Natalie Wood was Hollywood’s favorite vulnerable teenager.

I have to admit that I love films like A Cry In The Night, not so much because they’re great films (and, while always watchable, A Cry In The Night is certainly not a great film), but because they’re totally a product of their time. As opposed to the big budget extravaganzas that were churned out by the Hollywood studio system during the 50s and 60s, low-budget B-movies like A Cry In The Night were designed to exploit contemporary headlines and contemporary concerns and, therefore, provide a lot of insight into what was going on with the American psyche at the time.

A Cry In The Night combines several themes that ran through the majority of the films of the period. In the role of Harold, Raymond Burr is the epitome of the 1950s weirdo. As opposed to the normal, all-American boys who make out with their girls in cars, Harold can only bring himself to lurk about and attempt to catch a peek of what normal society does on Saturday night. When he kidnaps Liz, he’s not only threatening Natalie Wood, he is by extension attacking America itself. Meanwhile, Liz’s boyfriend comes across like the type of intellectual liberal who probably cast two ballots for Adlai Stevenson while her father is definitely an Eisenhower man. Boyfriend and father do not get along at first but what’s important is that they set aside their difference so that they can vanquish the other. By the end of the film, the father is willing to invite the boyfriend to dinner and the boyfriend has learned that sometimes, you have to be willing to fight.

For those of you who keep crying about how the solution for all of America’s problems lie in bipartisan compromise, A Cry In The Night is the film for you!

For the rest of us, A Cry In The Night is an occasionally entertaining time capsule.

Dance Scenes I Love: “America” from West Side Story

Posted on August 31, 2013 by Lisa Marie Bowman

There’s no way that I could ever write about the dance scenes that I love without including at least one scene from 1961’s best picture winner, West Side Story.

Sadly, people tend to underappreciate West Side Story. They focus on the fact that the singing voices of Natalie Wood and Richard Beymer are overdubbed by Marni Nixon and Jimmy Bryant, respectively. They laugh at the sight of “tough” street kids dancing around and singing that when you’re a jet, you’re the best.

Well, they’re wrong.

West Side Story is still one of the best musicals ever made and every time I see it, it’s a magical experience for me.

I think my favorite number from the film remains America. Watching this scene, you can tell why both Rita Moreno and George Chakiris won Academy Awards for their performances. They both bring a lot of fire and passion to their roles and nowhere is that more apparent then in America.