East of Eden (A- or 3.5/4 stars)
'East of Eden' (produced/directed by the great Elia Kazan, & based on John Steinbeck's novel) retells the Cain & Abel story in picturesque Salinas, California. Richard Davalos plays the "good" brother, Aron. And James Dean (who died tragically at the age of 24; 'East of Eden' was his 1st motion picture & contains his most electric performance) plays the "bad" brother, Cal. Both Aron & Cal have been led to believe that their mother is long dead. Meanwhile, their religious father (Raymond Massey) is desperately trying to make more $$ for his family; but winds up wasting it in a failed lettuce refrigeration venture (for long train rides).
Cal (Dean) comes across as a confused young man; twisted & tormented by the notion of his mother's death, his brother's superiority, & the fact that he believes his father to love Aron more than he. James Dean really gets this across onscreen with a sort of gnarled, inwardly-conflicted body language. He leans, lurches, slouches, mumbles his speech, & is prone to quick bursts of frustration. See, Cal is desperate for his father's love, attention, & approval. In essence, Dean perfectly reflects the discomforting truth of what it was to be an American teenager (both in 1917 when this film is set, as well as in '55 when this film was released).
Soon thereafter, Cal discovers that his mother (stage star, Jo Van Fleet) is still alive, & that his father has covered up the fact that she left him long ago. When Cal learns that she is a hard bitten madam who runs a whorehouse in seaside Monterey, he becomes convinced that Aron inherited the "good" biblical side from his dad & that he got the "bad" side from mom. Tormented by this notion, and already twisted by the fact that Aron has his father's love, Cal starts to hate his brother. Adding further complication is that fact that Aron's sweet girlfriend Abra (Julie Harris) seems to be falling for Cal; seeing how vulnerable the young man is.
Everything culminates at the father's birthday party where Aron upstages Cal's gift (Cal gives his father $$ that the father won't accept, while Aron announces the seemingly wonderful news that he intends to marry Abra -- who doesn't seem to even love him anymore). When the father refuses the $$ from Cal, Cal breaks down & tries to hug his father (in an improvised scene that took actor Raymond Massey off guard). The father recoils from Cal & James Dean's ensuing devastation is jarringly painful to witness. In a rage, Cal takes Aron to see his mother (who he'd also believed was deceased and a saintly woman). This all but ruins him. Melodrama ensues; leading to one of the more powerful, emotional, yet cathartic endings of a film that I've seen in quite a while.
You know, 'East of Eden' almost gets overpowered by James Dean. In other words, the father/sons story is interesting, Elia Kazan's direction is assured, Ted McCord's color cinematography is gorgeous (with wonderful compositions, camera angles, & shots - like Dean crouching atop a moving train as the exhaust smoke bellows above him), Raymond Massey is great as the stern father ... and yet ... you never stop looking at or contemplating James Dean. The camera loved him. And it's clear that director Elia Kazan was also fascinated by Dean; his intuitive acting choices, his movements, & that face.
Julie Harris is quietly intoxicating as Abra, the small-town woman who wants to do the right thing, but is conflicted by actions of the heart. Her brain tells her that she should be with Aron (who she really does care for on some level), but she is carnally interested & emotionally invested in the more wild, unpredictable, open-hearted Cal. As mentioned, 'East of Eden' has it all: the look & feel for the era, the biblical-type story, the performances (including a nice supporting turn by Burl Ives as the kindly sheriff), scintillating scenes (like Richard Davalos smashing his head through a train window), that powerful, tear-inducing end scene, & the iconic performance from James Dean. I can now see why this film is considered one of the greats of the 1950s.
Cal (Dean) comes across as a confused young man; twisted & tormented by the notion of his mother's death, his brother's superiority, & the fact that he believes his father to love Aron more than he. James Dean really gets this across onscreen with a sort of gnarled, inwardly-conflicted body language. He leans, lurches, slouches, mumbles his speech, & is prone to quick bursts of frustration. See, Cal is desperate for his father's love, attention, & approval. In essence, Dean perfectly reflects the discomforting truth of what it was to be an American teenager (both in 1917 when this film is set, as well as in '55 when this film was released).
Soon thereafter, Cal discovers that his mother (stage star, Jo Van Fleet) is still alive, & that his father has covered up the fact that she left him long ago. When Cal learns that she is a hard bitten madam who runs a whorehouse in seaside Monterey, he becomes convinced that Aron inherited the "good" biblical side from his dad & that he got the "bad" side from mom. Tormented by this notion, and already twisted by the fact that Aron has his father's love, Cal starts to hate his brother. Adding further complication is that fact that Aron's sweet girlfriend Abra (Julie Harris) seems to be falling for Cal; seeing how vulnerable the young man is.
Everything culminates at the father's birthday party where Aron upstages Cal's gift (Cal gives his father $$ that the father won't accept, while Aron announces the seemingly wonderful news that he intends to marry Abra -- who doesn't seem to even love him anymore). When the father refuses the $$ from Cal, Cal breaks down & tries to hug his father (in an improvised scene that took actor Raymond Massey off guard). The father recoils from Cal & James Dean's ensuing devastation is jarringly painful to witness. In a rage, Cal takes Aron to see his mother (who he'd also believed was deceased and a saintly woman). This all but ruins him. Melodrama ensues; leading to one of the more powerful, emotional, yet cathartic endings of a film that I've seen in quite a while.
You know, 'East of Eden' almost gets overpowered by James Dean. In other words, the father/sons story is interesting, Elia Kazan's direction is assured, Ted McCord's color cinematography is gorgeous (with wonderful compositions, camera angles, & shots - like Dean crouching atop a moving train as the exhaust smoke bellows above him), Raymond Massey is great as the stern father ... and yet ... you never stop looking at or contemplating James Dean. The camera loved him. And it's clear that director Elia Kazan was also fascinated by Dean; his intuitive acting choices, his movements, & that face.
Julie Harris is quietly intoxicating as Abra, the small-town woman who wants to do the right thing, but is conflicted by actions of the heart. Her brain tells her that she should be with Aron (who she really does care for on some level), but she is carnally interested & emotionally invested in the more wild, unpredictable, open-hearted Cal. As mentioned, 'East of Eden' has it all: the look & feel for the era, the biblical-type story, the performances (including a nice supporting turn by Burl Ives as the kindly sheriff), scintillating scenes (like Richard Davalos smashing his head through a train window), that powerful, tear-inducing end scene, & the iconic performance from James Dean. I can now see why this film is considered one of the greats of the 1950s.