Dean is provoked into a knife fight at one point, and then into a frightening game of 'Chickie Run', with drivers meant to jump out of their cars speeding towards the edge of a cliff at the last minute. After his arrest for public drunkenness, Jim screams at his squabbling parents, “You’re tearing me apart!” This first of many crises faced by the male lead, stems from the incongruity of the current social norms and the reality of his family life. Perhaps less apparent, but no less present, is the attraction between Jim and Buzz, which is concealed by their surface-level rivalry. Possum's evocation of wrongness, that unbalancing feeling that something is off -- if only you could put your finger on it -- lingers long. In the aftermath of Allen's character dying, the film spirals in ways which seem a bit exaggerated. Although Ray, the police officer, effectively defuses Jim's temper and successfully elicits his feelings, Ray is absent later in the film when Jim needs him the most. He's great in scenes of angst, but also in those with spontaneous banter and play. Jim and Judy pretend they are newlyweds in the market for a house, as Plato leads them on a mock tour of the mansion's amenities. He barely manages to escape, and in a distraught frenzy, fires his gun at Jim, and then fires at one of the gang members, injuring him. Lido, Peter. When Plato awakens, he finds the gang surrounding him, wielding a steel chain. Nicholas Ray's 1955 film extends sympathy to all its characters, not just the kids, though the central trio of Dean, Natalie Wood and Sal Mineo focus our emotions. Since the arrival of television, the average age of moviegoers had fallen significantly. Jim drops Judy off, and gives her her compact mirror back. It’s insightful of the misogynistic post-war values that Jim’s remark was met with acceptance and an offer of a surrogate father-figure. With his slicked-up quiff, turned-up jeans and revved-up attitude, Dean instantly achieved icon status. Paper must be a minimum of 500 wordsno first person, Student`s NameCourseInstructorDateThemes in Rebel without a CauseThe movie Rebel without a Cause by James Dean revolves around the main themes of running away and acceptance. Rebel Without a Cause is also notable for the strongly implied but never explicit homoerotic desire, which courses through scenes of Jim and Buzz play-fighting and competing. Jim's father falls short of Jim's expectations for masculinity because he defers his authority to Jim's mother and lacks the necessary advice to impart to Jim. Jim finds Judy on her front lawn, and they commiserate over their chaotic home lives. Meanwhile, the gang roves the town looking for Jim, first intimidating Plato (who grabs a gun from his parents' nightstand), and then Jim's parents, out of concern that he plans to turn them into the police. And man, existing alone, seems himself an episode of little consequence." Undated (Viewed 22 Oct. 2009)“A Streetcar Named Desire.” Imdb.com. Amazon.com. Note, for instance, how the groundskeepers at the planetarium fail to break up Jim and Buzz's knife fight, and become an object of ridicule in the eyes of the teenagers. Coming Soon. Rebel Without A Cause is essentially a sociological case study in American masculinity—its attractions, its limitations, its pathologies, its postures, and its obstacles. Retrieved 11:12, October 24, 2020, from https://www.writework.com/essay/genre-analysis-social-genre-rebel-without-cause. Judy, too, wishes to flee the confines of her household, and she and Jim use the words "zoo" and "circus" to describe the chaos that exists in their homes, which should be places of comfort and belonging. The "Dancing in the Dark" scene of "The Band Wagon" by Vincente Minelli. Ironically, Ray's film shows how these dangerous activities only reinforce their need for guidance and attention, such as when Jim beseeches his father for advice immediately after the chickie-run scene. This movie, like its underlying ideals of honesty, compassion and the need to be loved, remain true and timeless. We want to hear what you have to say but need to verify your email. Judy tells Jim that Plato spoke of him like his father. Neither wanting to be labeled a "chicken" nor participate in meaningless, violent rituals, Jim asks his father for advice later that day, but he is unable to provide Jim with an adequate answer. Despite repeatedly pleas, Jim never gets a real answer when he asks his father, “What do you do when you have to be a man?” His emasculated father’s hopeless role model turns farcical when Jim returns from the cliff tragedy to find him wearing a frilly apron and picking up spilled food for fear his wife will see it. “Film History of the 1950s – Part 1” filmsite.org. Tragedy would also cut short the lives of the film's two co-stars—Sal Mineo, who was stabbed to death at the age of 37, and Natalie Wood, who drowned while on a boating trip at the age of 43. Coming Soon. ', and the other boy, played by Corey Allen, responding, "You've gotta do something, don't you?" It also taps into a feeling of existentialism, of meaninglessness on a larger scale, with an outstanding scene in the planetarium where Dean's class listen to the lecturer say "...to the infinite reaches of space, the problems of man seem trivial and naive indeed. Plato lies to Judy that Jim is his "best friend," and likes being called Jamie. Hey, Stellaaa!” resonates Dean’s sentiment as Jim screaming “You’re tearing me apart.” Both films are set in the tumultuous period following World War Two and both wrestle with the growing pains of defining gender roles and relationships in a rapidly changing world. Even the family name is metaphor for their hollow portrayal of the mythical blissful nuclear family unit. As the title of the film implies, Rebel Without A Cause is about the tendency of teenagers to rebel against their elders. Plato's attraction to Jim is made quite plain over the course of the film, as Plato gazes adoringly at Jim, follows him around, and beseeches him to be his "father." The Stark family, who’ve recently migrated to suburban Los Angeles, are seeking a fresh start and rehabilitation of their delinquent teenage son. Jim tells the officer, “If he had guts to knock Mom cold once, then maybe she'd be happy and then she'd stop picking on him. Are you referring to the book or teenagers in general? However, when they see Plato is still armed, they flash their lights once more, causing Plato to rush forward. good, bad necessary evil)? Ray's compositions often show Jim to be at a combative angle with the world around him, especially in scenes with his family. Jim's First Day and the Planetarum Sequence, Read the Study Guide for Rebel Without a Cause…, Loss of Innocence: The Catcher in the Rye and Rebel Without a Cause, Authority and Self-expression in 'Rebel without a Cause' and 'Shadowboxing', View Wikipedia Entries for Rebel Without a Cause…. A Level Media Production Log Example/guide. In ... ... true depiction of the real prison, but the overall portrayals of life in prison were accurate ... ... in exchange for a piece of the profits. Not affiliated with Harvard College. He becomes furious when his mother tells him that they are moving; to him this seems like a way for his parents to avoid dealing with the problems facing him. Its impact on the American film-going public was practically inseparable from that of Dean's shocking death in a car accident, which occurred mere weeks before the film's release. The 1955 social drama “Rebel Without a Cause” is a powerful archetype of both its genre and the period of social upheaval that it portrays. Rebel Without a Cause Critics Consensus. Both emotional and social problems have been shown to push teenagers into running away in search of acceptance from new, and more understanding friends.Running away is one theme that cannot be missed when analyzing the characters in the movie.

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