Rebel Without a Cause

Not just a powerful film but also a very, very good one where it is very easy to see why it's considered a classic. It is a well-made film with the observatory shot at the end deserving a big mention and it is wonderfully directed by Nicholas Ray in terms of technical control and his ability in how to make the characters and their relationships compelling. Leonard Rosenman's music captures the 50s beautifully- just like the film's atmosphere does- as well, while the dialogue is thoughtful, treats the subject matter sympathetically without over-idealising and still packs a punch. Some have had that they consider how the characters act and speak outdated, not to me, for the time it was very ahead of its time(Jim's actions and what he said wouldn't dared to be have done and said before then, and the depiction of the parents was different to before too) and I still related to the characters' actions and the way they spoke. The story explores the theme of a teenager alienated by family and society struggling to fit in, and(at least personally) no other film has explored this theme and issue as powerfully and movingly- certainly not as realistically either- as Rebel Without a Cause, and in a way where you identify every step of the way with the characters and what they say and act. And despite what you may think the issue is very much relevant now, as well as important and something a lot of people still feel strongly about, speaking from personal experience in secondary school. The characters are the sort that are easy to relate to and that you can see yourselves in them, Jim Stark is somewhat of an icon now and unsurprisingly, and the film is beautifully played. Aside from the film's subject matter Rebel Without a Cause is remembered most for the performance of James Dean, and there is good reason for that because it is a superb performance and very heartfelt, makes one very sad of how such a promising young talent have their life and career cut short and tragically. Natalie Wood and Sal Mineo both give great supporting turns that are among their best, she charming and compassionate and he bringing an equally troubled character to affecting life. Everybody acquits themselves very well though. It is a shame that the ending is a cop-out and wraps things up too easily, but Rebel Without a Cause is otherwise a must see for particularly James Dean's performance and as a textbook example as to how to make a film with the teenager-struggling-to-fit-in theme. 9/10 Bethany Cox

"East of Eden" and "Giant" are both great, don't get me wrong. But this is the James Dean that set the archetype for not only the cool Fifties American teenager but perhaps every teenager since. Dean has his white t-shirt, sleeve rolled up for his smokes. He has his red jacket and blue jeans, he's ready to drag and he's ready to fight. From the first moment we see Dean, drunk on a school night, busted by the cops, he's amazingly both personally secretive and universally accessible at once. He's hurt, lonely and looking for kicks - and no one understands him except, maybe, just maybe, that one person in the audience...

Sure, this movie has it's faults. The parents are cartoonish, some of the kids are hip in only a stilted sense and a lot of the movie is unrealistic. There's something disturbingly hokey and amateurish in this portrayal of a typical American town with it's typical American high school. Yet, Dean, Mineo and Wood put on performances that let the viewer suspend reality all the way through..each of these three put on the performance of their lives!

Sal Mineo plays a mousey misfit named Plato (whose homosexuality is thinly veiled). Natalie Wood plays a young women named Judy, part of the in-crowd, who deep down is at wit's end. Both of these characters are amazingly believable, even fifty years later. Mineo's never been as enigmatic or as compelling as he is here as Plato. Then there's Wood - as cynical and alone in her world as Judy feels, we realize quickly she likes James Dean, she needs James Dean - and Dean can dig her.

In retrospect, it's not surprising that the jacketed juvenile delinquent that Dean plays here would become a role model for both young gay men and young straight men alike. He's comfortable being intimate with Plato, his words, his expressions are all too much, too overly emotional (for a straight man). But, the kids, the town itself, quickly learn Dean's no pushover. He yells, he fights and he's afraid of nothing that other people are afraid of - staring down death is just a way for him to kill time. But, he's afraid, something just isn't right with his life. And most importantly, even if he never really does connect with this "typical town" filled with "typical people", Dean does indeed connect - to anyone whose ever been young - and alone.....

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 .

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

I first saw this as a teen in the early 90s on a vhs. Revisited it recently with my teen son. The film portrayed the decay of confused teens n the differences and conflicts between teens n parents.

The film deals with the three main teens : 1)Jim - who is fed with his parents' bickering n his father's timid attitude.

2)Judy - who feels her father ignores n calls her names due to her clothes n lipstick.

3)Plato - a lonely kid whose father abandoned him when he was a toddler and his mother is always away.

All three of em James Dean, Sal Mineo, and Natalie Wood gave lovely performances. James Dean with his red jacket, blue jeans n white tshirt is the epitome of cool aft McQueen. We also have Dennis Hopper in a tiny role as a blue eyed goon who gets pushed aside.