Rebel Without A Cause (Nicholas Ray, 1955)

"You're tearing me apart!"

 

Introduction

 

Every family has 'issues'. I don't think anyone could argue that their family is perfect and, even if they did, a perfect family is so rare it is strange in and of itself. James Dean plays Jim, an older-teenager who is being 'torn apart' by the failings of his parents. The death of James Dean places this film within a trio of established 50's films which he starred in, including East of Eden and Giant. His role within East of Eden is similar to the role of Jim Stark in Rebel Without A Cause as Dean plays a misunderstood outcast in both. But the actors alongside Dean in this film, supported by Natalie Wood and Sal Mineo, is what puts this film on a pedestal.

 

Sins of the Father

 

The frustration of a teenager is difficult to capture. Indeed, how do you capture the conflicting attitudes of parents? How do you portray the change in relationships as you change from a child to become an adult? All these factors come to play here, but this is a tragic tale of the outsider - and the way others can treat the people, the teenagers, they don't understand. Values change and parents are generations detached from their children. Jim Stark (James Dean) is constantly moved between towns as his domineering mother (Ann Doran) and reluctant father (Jim Backus) try and find a place where Jim will make friends. This is revealed a short-way into the film after a sequence that finds Jim drunk on the streets and picked up by the police.

 

His frustration is clear and we can see his parents failing to understand the issues their child is tackling. Within the same police station, Judy (Natalie Wood) has ran away from home, albeit briefly, after an argument with her father. Plato (Sal Mineo) has killed small puppies - and won't explain why. The three are linked in their 'outsider' role in society

 

Fitting In

 

The first act is primarily Jim attempting to fit in. He attends 'Dawson High School' and is soon bullied by a group led by knife-weilder, Buzz (Corey Allen). The sequence culminates in the death of Buzz as he fails at a game of 'Chicken'. This horrendous moment is shortly followed by the connection between Plato, Judy and Jim becoming firmly established - they had only met in passing at the police station; this event brings all three together.

 

Homosexuality

 

The death of Buzz signifies a change between all three characters as Jim and Judy begin a relationship, whilst Plato looks on in vain. Many sequences place Plato and Jim exceptionally close to each other and sequences play almost as it would in a romance.

 

Roger Ebert states in his own analysis:

"After Buzz dies when his car hurtles over the cliff, the students all seem curiously -- well, composed. Jim gives Plato a lift home and Plato asks him, "Hey, you want to come home with me? I mean, there's nobody home at my house, and heck, I'm not tired. Are you?" But Jim glances in the direction of Judy's house, and then so does Plato, ruefully"

Plato is portrayed as a boy without a family (or a family who disown their 'unconventional' son?) and a brought up by an African-American maid (Marietta Canty) further highlights his outsider status - and how the maid, perhaps, relates to an injustice in his treatment. Indeed, it is this maid who is the final clear, profile shot before the camera pans back.

 

There is clearly a mixed, unclear message as Plato is obviously not revealed or considered to be gay - but it is the acceptance and love shown from Jim and Judy that reveal his acceptance in his friendship group, despite his clear affection for Jim.

 

The Real Rebel

 

Many men have claimed that they had intimate relations with James Dean, and it is rumoured that Nicholas Ray was bisexual despite multiple marriages - so this subtext is striking at a very personal issue that perhaps Dean and Ray related to. Simply by making this film they were making a point - and now it will be forever heard in the hallowed halls of classic 50's cinema.

 

A great film that represents the middle-class teenagers in a way that, prior to this film, had rarely been seen. The mothers and fathers whose treatment of their children was ignored for the sake of their own pride. Jim constantly questions his fathers masculinity, whilst Judy's father is finding it difficult to contain his attraction to his own daughter - these are strange situations that we are led to believe are regular and normal.

 

These teenagers in the mid-fifties clearly were facing a change - the sixties had not begun, yet these teenagers would be the adults who would change the face of history forever.

 

The Ladykillers (Alexander Mackendrick, 1955)

"I always think the windows are the eyes of a house, and didn't someone say the eyes are the windows of the soul?"

Introduction

One thing which is fascinating about Classic Cinema is how the themes and ideas represent the social context - but in many cases, it represents the current social climate too. The Ladykillers was remade by The Coen Brothers, starring Tom Hanks in the role originally played by Alec Guinness, and moved from Kings Cross in London to the Missisippi, USA. This original, far from merely using the word "f***" over 80-times (a useful piece of trivia about The Coens remake), according to Geoff Andrew is a "black comedy of English manners" which, at the time, served to "reinforce a society trapped in the past". Personally, I believe it holds many themes that link with society today - and crucially the corrupted, mixed-up logic of those who are intelligent enough to pull-off a bank-job ... but who cannot face the music when confronted by someone who is sincere enough not to join their gang, and who would rather the men take responsibility for their actions.

Mrs Wilberforce

The crux of this film is Mrs Wilberforce (masterfully played by Katie Johnson) and she is what engages us fully in the story. Mrs Wilberforce is a staple to the society - she regularly assists and speaks to the police about the local issues. She knows the local shop-owners and they know her. She is very much a citizen who takes great pride in what defines and ensures a successful society by actively playing her role. You could argue that this trust in her nature is what is gets her into this mess - as she ultimately trusts the shadowy man who follows her home. Professer Marcus (Alex Guiness) is the shadowy-figure that asks to rent her accomodation. Well-mannered, well-educated and, in an arty-kinda-way, well-dressed. He is still a sleazy and creepy. And then there are his crew of thieves...

The Group of Bandits

The characters created are creatively simple and clear-cut. We have the Army Major (Cecil Parker) - clearly one of the infliences of Stephen Fry's character in Blackadder Goes Forth. The everyman Mr Robinson, which ironically, is played by Peter Sellers - an actor famous for his multiple-role playing antics on Dr Strangelove or: How I Stopped Worrying And Loved The Bomb. Next up is "One Round" (Danny Green), the big-dope - a towering, well-built man ... who is also a tad slow. And the gang is finished off with the Italian Gangster, Mr Harvey (Herbert Lom) - a little bit too dangerous and only on this theft through the recommendation of Professeur Marcus. Mr Harvey is the 'loose' cannon and you never quite trust him - off the top of my head, a more comedic version of "Raoul" in Panic Room. Nobody is clearly from the same sect of society Mrs Wilburforce hails from - a high-ranking Major in the Army, a "Professeur", a well-spoken "everyman", a well-dressed Italian and ... well, maybe "One-Round" is your average working-class gentleman.

Regarding Mrs Wilburforce, we are also introduced to her friends briefly - all small women with little glasses and small hats, wearing cardigans. Mrs Wilburforce is not alone.

The 'Human' Element

The final act of the film kills off one-character at a time as the bank-robbers try and (a) steal the money for themselves and (b) attempt to choose who will kill-off Mrs Wilburforce. As the group gets smaller and smaller, we eventually see Mr Harvey and Professeur Marcus discuss the night previously and the frustration the Professeur feels - he realises Mrs Wilburforce is "the human element" and that this is what has destroyed their plan.

The ideas we can take from the film are profound as the bank-robbers get away with their crime - it is Mrs Wilburforce, the citizen of the country, who forces them to acknowledge their crime. The bank-job itself shows how, like those responsible for the recent financial crash, those who can commit the crimes are intelligent people and are more than capable of pulling it off. Indeed, no-one has been held responsible for the bank-job of the last decade. As noted, they are intelligent and well-educated - and the argument that its "only a farthing per person" is the type of logic we need to accept with regards to how we are to get "out" of this finanical climate - as noted on my analysis of If... - the British Prime Minister claims "we are all in this together". We all pitch in and the original crime is ignored.

The gang kill each other through their efforts to double-cross and con the other members of the group - is this hinting at the idea that all this greed over years - possibly centuries - will ultimately just destroy itself in one way or another. The criminals cannot kill the decent woman who they have decieved - the reason they can commit such a crime is because they don't see those who are affected. Detached, they can rob a bank - and it hints that Mr Harvey kas killed people - but when they get to know who is directly affected and are held accountable for their actions, they cannot bring themselves to continue in this manner. In fact, they don't even seem to like the 'Old Lady', or Mrs Lopside (implying that her attitude is off-balance?), and so it could even be highlighting the social divide between the white-collar criminals and the upper class against the "general public".

The film clearly portrays how, despite the moral-issues surrounding the definition of what is right and wrong, this is the society we live in and those who are in the position to rob a bank - our five-piece gang - are, in fact, right in their assertion that the money will be re-distributed. Mrs Wilburforce finds out in the final scene that she can keep the money and it doesn't make a slightest bit of difference on the grand scale of things. The difference in how that money is used is what is at the forefront of our minds in that final scene. The greed of those who commit the crime meant that the money is not distributed effectively whilst Mrs Wilburforce is happy to hand over huge sums of money to the artist in the street and will spend her money sensibly (on umbrella's) whereas, the detached, destructive, greedy Ladykillers only thought of themselves. It seems that Mrs Wilburforces socialist attitude towards the economy is held by people who are directly part of society, unlike those who simply want to make money from society.

Still don't think it is relevant to todays world? It turns out that the play is enjoying a run on the West End in London as this is published ... with star-of-In-The-Loop Peter Capaldi playing the Alec Guinness role...

The Night of the Hunter (Charles Laughton, 1955)

"They abide and they endure"

Introduction

Kim Newman writes "[The Night of the Hunter is] like a fairytale told in its simplicity, and yet seethes with adult complications". A perfect summary of the type of story this is. A recent film to bear a comparison to, is Paul Thomas Anderson's There Will Be Blood, whereby Paul Dano's 'Eli Sunday' portrays a greedy, corrupt preacher who - though nowhere near as sinister - clearly has similar inner-conflicts and demons as Harry "Preacher" Powell, played by Robert Mitchum. The fact that this film, over 50 years ago, still influences cinema today, shows the timelessness and importance of the film.

Through a Childs Eyes

The set-up begins as little John (Billy Chapin) and Pearl (Sally Jane Bruce) witness their Father, Ben Harper (Peter Graves), return home; money in one hand, gun in the other. John is sworn to hide the money he has stolen before Harper is arrested by the law men. In prison, he lets slip to his fellow cell-sharer Harry Powell of his crime and Harper is executed for his crime. John and Pearl do not know this, but they soon see something suspicious when Reverend Harry Powell arrives to their town and manages to woo their Mother. John never trusts him, and has no intention of revealing the location of the money to anyone - least of all "Preacher" Powell, who clearly shows his true intentions as he obsesses over this location ... questioning John and Pearl time and time again...

Biblical Centrepoint

The film begins as a biblical story is told to the five children: "A good tree cannot bring forth evil fruit. Neither can a corrupt tree bring forth good fruit. Wherefore by their fruits, ye shall know them". From the outset, you do not trust the people on screen - Ben Harper has an inner conflict as he is desperate for his children not to want through seeing the many children starve on the streets during the depression. Unfortunately, he turns to crime and gives his life hoping that his children do not struggle. But, by the same token that a criminal can have a good-heart, we also see a "man of the cloth" who is corrupted in every possible way - with every intention of corrupting those around him and betraying the trust bestowed upon him.

Akin to Paul Muni in Scarface, and the sinister whistling Muni has as he approaches his next victim, Mitchum equally sings a hymn in his southern-drawl titled "Leanin' ", which Ma Cooper (Lillian Gish) soon corrects as she correctly sings the song "Lean on Jesus". A subtle change that verbally shows the different intentions of each character - whilst Ma Cooper is a woman of faith, she believes that what she does is for the love of God. "Preacher" on the other hand
commits his crimes and actions for himself.

The One and Only

The Night of the Hunter is a staple of Film-Noir, but the director Charles Laughton only directed this single film in his entire career. Having worked with Hitchcock on The Paradine Case and Jamaica Inn, Laughton had clearly worked with the best.

The direction often shows stunning landscapes as characters walk across the horizon, creating defining silhouettes. Specifically Mitchum's 'Preacher', whose trademark-silhouette horse, rides across the horizon, as he wears a flat-top hat. By the final act, when you see this appear, it is a deeply unsettling experience as you know how much this character is capable of.

The use of deep-focus is regularly used and shadow dominates the screen, often completely obscuring faces so that you can only hear their voices. A stunning sequence is shot to show a side-perspective of a single room (above). On one hand, it appears incredibly strange, but in the symmetrical and triangular shape alongside the lighting, you can see that Laughton is creating a church-like atmosphere - arranging the frame almost as a Renaissance triptych; "Preacher" Powell is in his element and is, effectively, in his church. Another shot of Powell, waiting to enter the house, reminds me of the iconic shot in The Exorcist as the priest prepares to enter the house. No doubt Freidkin watched many films portraying evil prior to making The Exorcist - and Mitchum's "Preacher" is indeeed just that. Then we see the multiple uses of shadow drifting across walls, threatening the characters in the room harking back to F.W. Murnau's Nosferatu. This film is clearly influenced by cinema that preceded it, but more importantly influenced much more cinema after it.

Little did I know that the film ends on Christmas Day as Ma Cooper tells us about chidren: "They abide and they endure". In the final few scenes, we see John break and struggle under the responsibility his father has placed on him. We have a responsibility to look after these children and their future. On a sidenote, I also watched Inside Job last night - an award-winning documentary about the global recession ...

Guys and Dolls (Joseph L. Mankiewicz, 1955)

"For two weeks I gambled in green pastures. The dice were my cousins and the dolls were agreeable with nice teeth and no last names."

Introduction

I mentioned it a few times, but between 16 and 18, I was part of an Amateur Dramatics society, named TADLOP in Shropshire. This led me to gaining a bit of a better understanding of musicals - specifically South Pacific, My Fair Lady and Brigadoon. Outside of these I was a part of a Summer Youth Project whereby I even nabbed a lead role in West Side Story and Barnum. So, I knew of Guys and Dolls and, in some 'lots-of-songs' performance, I even was a part of a rendition of 'Luck Be A Lady Tonight'! One thing I always wished I was a part of was Bugsy Malone (Now, at the age of 27, I am too old) but, after watching Guys and Dolls, I now regret not being a part of a Guys and Dolls performance - because I would have loved to sing some of these brilliant songs!

A Gangster Musical - with The Godfather and Sinatra

In the first instance, the actors alone are a strange combination. Originally the broadway version cast a gruff-voiced singer in the role of Nathan Detroit ... which then went to Frank Sinatra and his silky voice. In fact, many songs were omitted from the stage version - whilst two songs were added to the film: namely 'Adelaide', written for Sinatra himself. Apparently, Sinatra's 'crooning' was critisized heavily by Frank Loesser - the composer - as it was not in keeping of the character he played, but Loesser was still expected (by Samuel Goldwyn and Mankiewicz) to write the three additional songs, including 'Adelaide'. Marlon Brando was also seen as bad casting - hired only because of his recent successes having come off On the Waterfront in 1954 and The Wild One in 1955. Interestingly, in The Wild One, Brando was pitted against Robert Keith who plays a similar law-abider in Guys and Dolls, playing Lt. Brannigan rather than the Sheriff he played in The Wild One.

The gambling narrative involved Nathan Detroit (Sinatra), in desperate need of $1000 to set up an illegal card game, he bets Sky Masterson (Brando) that he can't take a "doll" - Christian Mission girl Sarah Brown (Jean Simmons) - to Havana. Detroit is under the impression that Sky makes stupid bets and, this bet, will guarantee him the money to set up the card game. Funnily enough, Detroit finds out that Sky does indeed take Sarah Brown to Havana ... whereby they both fall in love...

Squeeze in Songs

Musicals often have a habit of making unneccessary songs and squeezing them into the story - and Guys and Dolls does seem to have a habit of doing this. One specific song stalls the story completely as we wait for Detroit to go to the Christian Mission and his 'doll' [of fourteen years] thinks he is lying and there is a whole song about how much she doesn't believe him and how Nathan is torn between convincing her he is telling the truth but additionally leaving to fulfill his part of the bet and go to the Mission... you want to hit him round the head and just tell him to get the hell out the door.

Having said that, they use Detroit's 'doll' exceptionally well as she is part of a dance group who perform in a local club and so all their songs fill in gaps in the story. For example, 'Pet Me Poppa', Adelaide (Detroits 'doll') sings about how - like a cat - she will roam if she is not married soon! She sings: "You know you've been mean to me/ And you know when you're mean to me/ How it always makes me wanna roam/ And you know there's a danger/ That some gentle stranger/ Might pick me up and make me feel at home". The whole song is clearly stating the same message as Beyonce's 'Single Ladies (Put a Ring on it)'... and when you watch the film, the leotards and high legs seem a little too similar ...

The Bet on Faith

There is a strange conflict at the centre of the story. Sky Masterson - a successful gambler - seems to 'win' Christian Missionary Sarah Brown through taking her out and getting her drunk. To make matters worse, he is content in getting her drunk without her knowing. I know this is all a joke, but it does nevertheless lead to the same Sarah Brown not only getting drunk and getting into fights but - when all the illegal gamblers reluctantly go to her Mission to fulfill Skys bet, she even lies to the police about the gamblers the previous night (whereby the group broke into the Missionary when it was unattended and conducted an illegal card game). Does this film condone lying to the police? I don't think any of the gangsters get a comeuppance either - and none of them actually turn to Christ having attended the Missionary. They are constantly begrudging the fact that they are even there at all! I think I would go so far in saying that the film actually takes the mickey out of Christian attitudes and morals - with the very clear intention of stating that Christians have a very prudish and unfulfilling life.

There is also a philosophical argument (and I'm sure people may hang me for bringing such psuedo-highbrow thoughts to a review on Guys and Dolls). Blaise Pascal created an argument aptley titled 'Pascals Wager' or 'Pascals Gambit'. The idea was that any rational person would believe in the existence of God - arguing that, if you were to bet on such a thing, it would make sense to bet on the existence of God because if you are right - you have everything to gain (post-death I presume) whereas, if you are wrong, it wouldn't matter anyway. Because you'd be dead in the ground. Take this argument and apply it to the sequence involving 'Luck be a Lady Tonight'. Sky bets everyone to merely attend the Mission for prayer that evening - otherwise he would give them $1000 each. For each of those 'sinners' they have nothing to lose - but everything to gain. Though this may be a tangible link, the idea of having faith at all is clearly central to the story - getting married has an element of risk and you have to have the faith to stand by her/him if you make the decision. Life is a game of luck, as they say.

The reality is that this is all very unclear - for example, despite Sky getting Sarah Brown drunk and involving her in a fight, he stops short of sleeping with her telling her it would be wrong... assuming his actions prior to this was right?

A Marriage Made in Heaven

The film ends with, what feels like, a random wedding. Both Sky and Sarah Brown get married after their whirlwind romance, whilst Detroit and Adelaide, after 14 years, get married in the same ceremony. Even Lt Brannigan walking Sarah Brown down the aisle. All the actors in the film make a little appearance - with the hint of the start of a relationship between different friends and families.

The casting of Brando and Sinatra, in hindsight, was great - I don't believe any other movie stars both actors. The fact that Brando and Simmons both sing simply shows how capable they are at holding a musical note. The shame is how Joseph L. Mankiewicz seems to bring to the table little considering his background. Mankiewicz is the man who directed All About Eve and he went on to direct Cleopatra and Sleuth! This film seems to play very much like the MGM musicals - bright colours, MGM dancers filling the screen, studio set, etc rather than anything more thought-provoking.

At any rate, like the best musicals, the success hunges on the songs and this film has indeed got some unforgettable songs. Specific songs about male and female attitudes to relationships, as sexist as they are, they are a lot of fun to watch. Adelaide sings about how scared of commitment Nathan - and men - can be in 'Adelaides Lament'. But then, against this, the guys follow this and sing 'Guys and Dolls' about how a guy can under the thumb. They are merely in jest and comedic in their nature but it is what holds this film together and makes it a fun watch rather than simply romantic melodies. Its strange to think that Sinatra was nearly cast as Johnny Fontaine in The Godfather, which would've marked Brando and Sinatra's second collaboration ...