September 30, 1955

Richard Thomas of 'Waltons' fame stars here as Jimmy J., an Arkansas undergrad in the 1950s who idolizes rising film star James Dean. He feels a kinship with the young actor, thinking that their lives have mirrored each others'. When he learns of Deans' death, he goes a little crazy, dragging his friends into assorted escapades that ultimately have a sad result.

Written and directed by James Bridges ("The China Syndrome"), this little period piece seems to be somewhat forgotten nowadays. It's not always terribly compelling or interesting, but it's still worthy of some respect, considering the way that it examines the fascination that some people feel for movie stars. Dean in particular had an iconic presence that resonated with a generation; it's not hard to believe that his passing was deeply felt by people like Jimmy J.

A mixture of comedy and drama, "September 30, 1955" is sometimes amusing and sometimes poignant, leaving us with one memorable showcase speech for Thomas, and the idea that life is not really "like a movie" as some folks might think.

The period recreation is pretty good, and the film benefits from a touching score by Leonard Rosenman, who had scored the Dean vehicles "East of Eden" and "Rebel Without a Cause" once upon a time. But the main reason to watch is the talented, engaging young cast, some of them making their feature-film debuts. Thomas is wonderful, and his supporting actors make for an endearing ensemble: Deborah Benson (leading lady in the superior slasher "Just Before Dawn") as Jimmy J.'s girlfriend, Lisa Blount ("Prince of Darkness") as the fellow free spirit and Dean devotee, Thomas Hulce ("Amadeus") as the roommate, Dennis Christopher ("Breaking Away") as the sidekick, and Dennis Quaid as the jock. Collin Wilcox Paxton ("To Kill a Mockingbird") plays Jimmy J.'s mother, and Susan Tyrrell ("Forbidden Zone") plays Billie Jean's mom.

A semi-autobiographical tale for Bridges, who grew up in Paris, Arkansas himself.

Seven out of 10.

This is the worst movie I have ever seen. The whole movie is just kids bummed out because James Dean died. I saw this movie back when it was first aired in theaters, and it is the only theater movie I've seen that was roundly booed by the audience well before the ending. Don't anybody even think of putting this movie in the same genre as American Grafitti.

Had never heard of this movie and turned it on because nothing else was on. Turns out it was a touching and well-acted story.

Richard Thomas--normally I don't much care for him--was excellent. There's fun here and there's melodrama, and it's a little over the top, but all in all, it's quite entertaining.

The film was made in 1977, but it doesn't seem all that dated. The sensibility and ironies, which abound, seem quite contemporary, even though it's set in 1955, and it recreates that era very well. At any rate, if you have a chance to see it, I think you'll like it.

It's also fun to see Dennis Quaid and Tom Hulce in their late teens.

4 out of 10

The title represents the date that the legendary and truly great actor James Dean died in a car crash. His death has an adverse effect on a group of teens in a small southern town.

Thomas is the main character who , along with his girlfriend Billie Jean, seems to get the most upset. Although some of his actions may seem fanatical it is really not as extreme or as a fanatical as you may think it would be or could have been. At no time does he become so immersed in it that he loses sight of reality. At times it really becomes more of a story of lost young souls looking for an identity than it does on celebrity worship.

The story itself is pretty slow and has a lot of long drawn out takes. There are times when the drama gets just a little too heavy. The ending is especially unsatisfying as it doesn't even give us a hint as to whatever became of these characters who are all left in unfinished scenarios. In the final analysis this thing is nothing more than another one of those sappy 70's teen romance tragedies.

Beyond the poor structure there are indeed some good things going on here. One is the just the chance of seeing such budding young talents working together and carrying a film. The other is director Bridges who shows some really good insight into Dean's mystic and why he made such a strong connection with the youth. You have the feeling that Bridges himself was a really big Dean fan. He also makes a good statement about just how many lost, lonely souls there are out there and the stifling nature of small town life especially during that period. He also recreates an excellent 50's flavor maybe some of the best you will ever see. The interactions between the characters seems very real and there is good historical accuracy. Bridges is honest with his assessment of the 50's and yet is not condescending to it like with a lot of other movies. He digs beyond just the period detail. You really feel, at least during the first hour, that you are right there and a part of the 50's experience, which is interesting and fun.

Overall Bridges shows signs of being a serious up and coming filmmaker. Unfortunately he tries a little too hard here. It seems too labored and trapped by the sensibilities of it's era. It is also completely humorless, too talky, and an eventual bore.

This autobiographical film is one of the rare American motion pictures to examine the effect that movie stars have on audiences, particularly young audiences yearning for role models during times of emotional isolation. Writer-director James Bridges ("The Paper Chase," "The China Syndrome") recalls his youth in Paris, Arkansas (called Conway here) to create a heartfelt work of escalating intensity as its impressionable hero, Jimmy J (Richard Thomas), leads his friends over the edge as they mourn James Dean. "September 30, 1955" integrates images, themes, and even the music (also by Leonard Rosenmann) from "East of Eden" and "Rebel Without a Cause," and adds resonances to both films. This little, unheralded picture needs to be seen -- as does Richard Thomas's utterly brave performance. The key to understanding this film is not to think of it as a "youth picture" but as a deconstruction of the movie star mythos.