Rebel without a cause summary essay
Stern 16 Being Overall Story Concern The teen characters are concerned with what it means to be a teenager.
Changes have happened to them. Ability An example of how the conflict between desire and ability is explored in the objective story can be found in how the kids interact with each other and their parents.
Rebel without a cause cast
He stops as he sees the emptiness in them. Judy: Who lives? Teenagers had appeared in films, of course; but rarely were there films about teendom. And then the legend took over. The screenplay by Stewart Stern from an adaptation by Irving Shulman of an original storyline synopsis by director Nicholas Ray was based on an actual case study contained in Dr. He speaks very gently. He called me - he called me a dirty tramp, my own father. Jim: Where I first saw ya. Judy: I go with the kids. Jim then parts ways with Plato, who tells Jim he wishes Jim were his father. Curiously, right before the race, Buzz tells Jim: "You know something? He even arranged for his young looking year-old nephew Sumner Williams to be arrested and placed in a juvenile detention center, all staged of course, so Sumner could talk with actual young inmates for research. Also, it was at Taliesin where Ray was first exposed to cinema in a meaningful way, their moviehouse showing a regular lineup of foreign films and highbrow Hollywood titles. University of Minnesota Press,
Jim: after spying on his parents through the round slot in the door Aw, she eats him alive and he takes it. Ray, Dean, and Stern were all cut from the same cloth in their feelings of disappointment in their parents.
Rebel without a cause characters
He was also nominated as Best Actor in the next year for his performance as Jett Rink in his third and final film, Giant , filmed in the summer and early fall of and released in - a year after his death. Ray: What? Early in the film, he regards his father and tells a juvenile officer: "If he had guts to knock Mom cold once, then maybe she'd be happy, and she'd stop picking on him. His father also explains background about their family and their parenting - they have moved there as a result of their son's troubled behavior: Jim's father: You see, we just moved here you understand, and uh, the kid hasn't got any friends, you understand, and we moved into a Seen today, "Rebel Without a Cause" plays like a Todd Solondz movie, in which characters with bizarre problems perform a charade of normal behavior. In another way, Stern enhanced the fantasy elements of the story, modeling the trifecta on J. Judy: Yes. The officer calls his name twice to get his attention - he is distracted by looking toward Jim in the adjoining hallway. Security Main Character Counterpoint Jim does not have the sense of security that a child in a functional family would have. He was a studio filmmaker; however, he was also a nonconformist and wanted to turn the usual types of stories upside-down. I thought we could have a real old-fashioned stag party—just the two of us, what do you say? Jim: I got my car. But "Rebel Without a Cause" was enormously influential at the time, a milestone in the creation of new idea about young people. Jim gives Plato a lift home and Plato asks him, "Hey, you want to come home with me?
But until Richard Brooks wrote and directed Blackboard Jungleabout a teacher Glen Ford who vies for control of his classroom against inner-city students led by Sidney Poitierthe troubled lives of teenagers had barely been represented onscreen on their own platform.
Although he loves his father, he wishes his henpecked, ineffectual "chicken" father would one day stand up to his domineering mother who is only concerned about keeping up an image of respectability A chase leads them to the nearby Observatory, where Plato is gunned down in an act of suicide by police.
Stern and Ray shared the notion that much of the film exists in the fantastical mind of a teenager. When his father refuses to stand up to his mother, in addition to being incapable of offering effective advice as a man, Jim throttles him on the carpet before storming out of the house.
Judy: Well, stop the world.
New York: HarperCollins, The simple notion of putting so much of himself onscreen immersed him into the project to a degree he had never known before.
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