Review of Rebel Without a Cause (1955) by Jake R — 17 Oct 2008

James Dean was essentially the first young star to be hyped up as one of the new breed of actors, covering the likes of Marlon Brando and Montgomery Clift, handsome, rugged men who combined a sensual masculinity with an air of unmatched cool. This film was Dean's springboard. It was his 'Titanic', his 'Brokeback Mountain'. After this film no one questioned Dean's extraordinary acting ability and screen presence and he was set to become a Hollywood legend in his own lifetime, garnering two Best Actor nominations in an astonishing three films. Then, on September 30th 1955 a car accident instantly took away one of the greatest actors of his generation.

Half a century of an obsessive fan following has produced countless details of his real life, that he was a dedicated and likeable person to work with, but also that he had a much grander ambition to become a full time director. What we see in his tragically limited output is a glimpse of his fresh and raw talent, untainted by the films his characters inhabit.

'Rebel Without A Cause' was like those teen movies made in the 1980s: seemingly groundbreaking at the time but well worn by a significant change in society and culture. The dynamic of a rebellious youth angry at a stoic and uninvolved set of parents barely registers in modern times, particularly with children and teenagers running their own households. Since this is the main focus of the film, it's sad to say that it's the most alienating, not to mention cliche, the last few decades showing increasingly derivative variations.

How the film works best nowadays is in the study of relationships between the main characters. Dean's 'Jim' (wink wink) doesn't fit as snugly into teen movie conventions as one might think. His rivalry with Buzz is more of a sideshow, since they both get along immaculately. His romance with Judy is more reminiscent to that of a good friend rather than the get-the-girl formula, and Plato is that disturbed, gun-crazy kid in the corner everyone knows will eventually do something terrible. Compared to the film's subtle revealing of these characteristics it's modern life that appears to have slipped into hyperactive melodrama.

Dean is, of course, naturally camouflaged into his role, shifting and mumbling moodily in that familiar way we all recognise. Clad in his 'hip' jeans and 'sharp' red jacket, it's an iconic uniform and one of the best aspects of the film that has dated well. Natalie Wood and Sal Mineo also totally convince as naive but passionate youngsters. It really is their film, them building their own surrogate family living uneasily but tenderly with each other. Any generation can appreciate that.

There is little plot to speak of but that's more to do with the concept being so revolutionary and incendiary that the makers basically let it carry the film for them. And in an era of knock off and boring carbon copy teen movies, to see an old-school drama work to detail relationships and characters and with such unmistakeably talented acting ability is a welcome break, and testament to all involved that they have made a powerful piece of work to last. It was James Dean's finest moment, which makes his tragic early demise even more infuriating.