1956 Hebrew JAMES DEAN Israel PHOTO BOOK FRONT COVER Jewish REBEL WITHOUT CAUSE

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Seller: judaica-bookstore ✉️ (2,805) 100%, Location: TEL AVIV, IL, Ships to: WORLDWIDE, Item: 276388715865 1956 Hebrew JAMES DEAN Israel PHOTO BOOK FRONT COVER Jewish REBEL WITHOUT CAUSE. DESCRIPTION :  The Israeli publishers of this 1950's PULP Hebrew booklet named " FOR a PIECE of LAND " have picked a classic very touching photographed image of JAMES DEAN from the film/movie "REBEL WITHOUT A CAUSE" for the FRONT COVER.  On the back cover an advertisenent for Kazan's "BABY DOLL" of "Warner Bros. Pictures" with the image of CARROLL BAKER . Very rare and almost impossible to find.  The publishing era is mid1950's . JAMES DEAN photo SC . 4 x 6". 36 pp. Very good used condition. ( Pls watch the scan for reliable AS IS images ). Will be sent inside a protective rigid packaging .

PAYMENTS : Payment method accepted : Paypal & All credit cards. SHIPPMENT : Shipp worldwide via  registered airmail is $ 25 . Will be sent inside a protective rigid packaging .  Handling around 5-10 days after payment. 

Baby Doll is a 1956 American dramatic black comedy film directed by Elia Kazan, and starring Carroll Baker, Karl Malden, and Eli Wallach. It was produced by Kazan and Tennessee Williams, and adapted by Williams from his own one-act play 27 Wagons Full of Cotton (1955). The plot focuses on a feud between two rival cotton gin owners in rural Mississippi; after one of the men commits arson against the other's gin, the owner retaliates by attempting to seduce the arsonist's 19-year-old virgin bride with the hopes of receiving an admission by her of her husband's guilt. Filmed in Mississippi in late 1955, Baby Doll was released in December 1956. It provoked significant controversy, largely due to its implied sexual themes. An effort to ban the film was carried out by the Roman Catholic advocacy group National Legion of Decency, though responses to the group's condemnation of the film were varied among Catholic laity and other religious institutions. Despite moral objections to the film, it was largely well received by critics, and earned numerous accolades; Kazan won the Golden Globe for Best Director and the film was nominated for four other Golden Globe awards, as well as four Academy Awards and four BAFTA Awards, with Wallach taking the BAFTA prize for Most Promising Newcomer. Culturally, the film has been credited with originating the name and popularity of the babydoll nightgown, which derives from the costume worn by Baker's character. Additionally, it has been named by film scholars as one of the most notorious films of the 1950s, and The New York Times included it in their Guide to the Best 1,000 Movies Ever Made.[1] Contents 1 Plot 2 Cast 3 Production 3.1 Development 3.2 Casting 3.3 Filming 4 Release 4.1 Box office 4.2 Claims of indecency 4.3 Critical response 4.3.1 Accolades 5 Stage play 6 See also 7 References 8 Sources 9 External links Plot In the Mississippi Delta, bigoted, middle-aged cotton gin owner Archie Lee Meighan has been married to pretty, naïve 19-year-old "Baby Doll" Meighan for two years. Archie Lee impatiently waits for her 20th birthday, when, by prior agreement with her now-deceased father, the marriage can finally be consummated. In the meantime, she sleeps in a crib, because the only other bedroom furniture in the house is the bed in which Archie sleeps; Archie, an alcoholic, spies on her through a hole in a wall. Baby Doll's senile Aunt Rose Comfort lives in the house, as well, much to Archie's chagrin. After defaulting on payments to a furniture-leasing company due to his failing cotton gin, virtually all the furniture in the house is repossessed, and Baby Doll threatens to leave. Archie's competitor, a Sicilian American named Silva Vacarro—who owns a newer and more modern cotton gin—has taken away all of Archie's business. Archie retaliates by burning down Vacarro's gin that night. Suspecting Archie as the arsonist, Vacarro visits the farm the following day with truckloads of cotton, offering to pay Archie Lee to gin for him. Archie asks Baby Doll to entertain Vacarro while he supervises the work, and the two spend the day together. Vacarro explicitly inquires about Archie's whereabouts the night before and makes sexual advances toward her. When Vacarro outright accuses Archie of burning down his gin, Baby Doll goes to find Archie, but he slaps her in the face and leaves for town to purchase new parts for his gin. Vacarro comforts Baby Doll, and after becoming friendly, Vacarro forces her to sign an affidavit admitting Archie's guilt. He then takes a nap in Baby Doll's crib, and is invited for supper at Baby Doll's request as a storm approaches. Archie, drunk and jealous of Baby Doll's romantic interest in Vacarro, angrily tells Aunt Rose she needs to move out of the house; Vacarro immediately offers to let her live with him as his cook, and Baby Doll and he flirt with one another and taunt Archie. After Vacarro confronts Archie with the affidavit, Archie retrieves his shotgun and chases Vacarro outside while Baby Doll calls the police. The police arrive, and Archie is arrested when Vacarro presents them with the affidavit. Vacarro then leaves the farm, telling Baby Doll he will be back the following day with more cotton. As Archie is taken away by the police, remarking that it is Baby Doll's birthday, Baby Doll and her Aunt Rose return inside the house to await Vacarro's return. Cast Karl Malden as Archie Lee Meighan Carroll Baker as Baby Doll Meighan Eli Wallach as Silva Vacarro Mildred Dunnock as Aunt Rose Comfort Lonny Chapman as Rock Eades Hogue as Town Marshal Noah Williamson as Deputy R. G. Armstrong as Townsman Sid (voice only, uncredited) Madeleine Sherwood as Nurse in Doctor's Office (uncredited) Rip Torn as Dentist (uncredited) Production Development Jack Garfein, Carroll Baker, and Elia Kazan on the set of Baby Doll Although the film's title card says "Tennessee Williams' Baby Doll", and the film is based on Williams' one-act play 27 Wagons Full of Cotton, in his autobiography director Elia Kazan claimed that Williams was only "half-heartedly" involved in writing the screenplay, of which Kazan himself actually wrote the majority.[2][3] Casting Director Kazan cast Baby Doll using numerous alumni of the Actors Studio, with the entire principal cast being veterans.[4] Carroll Baker was Kazan's first choice for the titular role, though Williams had considered Marilyn Monroe for the part.[2][5] Ultimately, Williams was convinced that Baker should have the role after seeing her perform a scene from his script at the Actors Studio; likewise, Kazan had been impressed by her performance in All Summer Long on Broadway the year prior.[6] Eli Wallach was cast as Silva Vacarro, the rival cotton gin owner who seduces Baby Doll, marking his first screen role.[7] Wallach had reservations about taking the role, as he was unfamiliar with acting on film and lacked confidence in his ability to perform.[8] Karl Malden, also an Actors Studio alumnus, was cast as Archie Lee Meighan, Baby Doll's middle-aged husband.[7] Mildred Dunnock was cast in the part of Baby Doll's senile Aunt Rose.[4] Several local African American actors (during the time of filming, Mississippi was still strictly segregated[9]) appear in bit parts in the film,[7] while Actors Studio alumnus Rip Torn appeared in a minor uncredited role as a dentist.[8] Filming Principal photography of Baby Doll began in October 1955 in Benoit, Mississippi[10] in the J.C. Burrus house, built in 1848, an antebellum home in Bolivar County.[7] Kazan had each actor dress the home's interiors with self-selected props that they felt reflected their characters' personalities.[7] Other shooting locations included nearby Greenville, while additional photography took place in New York City.[2] According to Kazan, Williams did not stay long while the film was shooting in Benoit, because of the way locals looked at him.[2] Some locals were used for minor roles, and one, "Boll Weevil" not only acted, but was the production unit's utility man, as well.[2] The working titles for the film included the name of the play and Mississippi Woman; actress Baker claims that Kazan changed the title to Baby Doll as a present to her.[7] Release Box office Baby Doll premiered in New York City on December 18, 1956, opening the following week in Los Angeles on December 26 before receiving an expanded release on December 29.[7] During its opening week at New York's Victoria Theater, the film earned promising box-office returns, totaling $51,232.[11] It went on to gross $2.3 million at the U.S. box office.[12] According to Kazan, the film was ultimately not profitable.[13] Claims of indecency Cardinal Francis Spellman, Archbishop of New York, protested the film. Baby Doll began garnering controversy prior to its release, spurred by a promotional billboard on display in Manhattan, which depicted an image of Baker lying in a crib, sucking her thumb.[14] The Sunday after the billboard was erected, Baker received a phone call from a journalist who commented, "Your film Baby Doll has been condemned by the Legion of Decency and Cardinal Spellman has just stepped up to the pulpit and denounced it from St. Patrick's Cathedral. What have you got to say?"[15] During Mass on Sunday 16 December, Spellman, the Archbishop of New York, had advised that both Catholics and non-Catholics forgo seeing the film, deeming it a moral "danger".[16] Spellman's "unusually harsh and unusually public" sermon was unprecedented.[16] Although Baby Doll received a seal of approval from the Motion Picture Code, a December 1956 article from Motion Picture Herald criticized the institution for having granted it one, noting: "Both the general principles of the Code and several specific stipulations are tossed aside in granting the film a Code seal. Among these, the law is ridiculed, there are sexual implications, vulgarity, and the words 'wop' and 'nigger.'"[7] Continued pressure against the film from religious groups continued following its December 18 premiere, after which the Catholic Legion of Decency gave the film a "C" ("Condemned") rating and deemed it "grievously offensive to Christian and traditional standards of morality and decency."[7] The group succeeded in having the film withdrawn from release in numerous U.S. theaters because of their objections over its sexual themes.[2] Variety noted that it was the first time in years that the Legion had condemned a major American film which had received the approval of the Code.[2] Response to the film from Catholic laity was divisively mixed, with some agreeing that the film was obscene, and others feeling it was not the moral imperative of the church to decide which films should and should not be viewed.[17] James A. Pike of the Episcopal Cathedral of St. John the Divine in New York countered Cardinal Spellman's condemnation of Baby Doll by pointing out that more "sensuality" was in the film The Ten Commandments than in Baby Doll, and argued that "the church's duty is not to prevent adults from having the experience of this picture, but to give them a wholesome basis for interpretation and serious answers to questions that were asked with seriousness."[2] Others agreed with Pike, including the Catholic Archbishop of Paris[18] and the head of the Catholic film Institute in the U.K., while the Catholic Bishop of Albany, New York also forbade Catholics to see the film, which the American Civil Liberties Union objected to as a violation of the First Amendment.[2] According to Baker, everyone else who had worked on the film and she had "no idea" that the material would be perceived as controversial.[19] The main reason for the backlash was believed to be the seduction scene between Baker and Wallach, in which his character successfully attempts to seduce and sexually arouse her outside the farmhouse.[19] Also, speculation arose among audiences that during their scene together on a swinging chair, Wallach's character was fondling Baby Doll underneath her dress because his hands are not visible in the frame.[19] According to both Baker and Wallach, the scene was intentionally filmed that way because Kazan had put heaters all around them because of the cold weather.[19] The film was banned in many countries, such as Sweden, due to what was called "exaggerated sexual content". It was also condemned by Time, which called it "just possibly the dirtiest American-made motion picture that has ever been legally exhibited".[20] Such heated objections and the ensuing publicity earned Baby Doll a reputation as one of the most notorious films of the 1950s.[21] Critical response Reviews from critics were mostly positive. Bosley Crowther of The New York Times wrote in a generally favorable review that Tennessee Williams "has written his trashy, vicious people so that they are clinically interesting ... But Mr. Kazan's pictorial compositions, got in stark black-and-white and framed for the most part against the background of an old Mississippi mansion, are by far the most artful and respectable feature of 'Baby Doll.'"[22] Variety wrote that Kazan "probably here turns in his greatest directing job to date" and praised the "superb performances," concluding that the film "ranks as a major screen achievement and deserves to be recognized as such."[23] Richard L. Coe of The Washington Post called it "one of the finest films of this or many another year, a chilling expose of what ignorance does to human beings ... and an excellent example of why the Motion Picture Association should follow Britain's lead in classifying films into distinct categories for children and adults."[24] John McCarten of The New Yorker praised the cast as "uniformly commendable" and wrote that the plot machinations "add up to some hilarious French-style farce, and it is only at the conclusion of the piece, when Mr. Kazan starts moving his camera around in a prenaturally solemn way, that one's interest in 'Baby Doll' briefly wanes."[25] The Monthly Film Bulletin wrote, "Kazan has often fallen afoul of his own cleverness, but in Baby Doll he responds to a brilliant and astute scenario by Tennessee Williams with a great invention and the most subtle insight ... There are no bad performances, and those of Carroll Baker as Baby Doll and Eli Wallach as the Sicilian are outstanding."[26] Not all reviews were positive. Edwin Schallert of the Los Angeles Times wrote that the film "offers an experience so basically sordid, and so trying besides, that if one does not manage to laugh at its fantastic ribaldry, he will think that he has spent two hours in bedlam."[27] Harrison's Reports called the film "thoroughly unpleasant and distasteful screen fare, in spite of the fact that it is expertly directed and finely acted."[28] Accolades Institution Category Recipient(s) Result Ref. Academy Awards Best Actress Carroll Baker Nominated [29] Best Supporting Actress Mildred Dunnock Nominated Best Adapted Screenplay Tennessee Williams Nominated Best Black-and-White Cinematography Boris Kaufman Nominated BAFTA Awards Most Promising Newcomer Eli Wallach Won [30] Best Film Baby Doll Nominated Best Foreign Actor Karl Malden Nominated Best Foreign Actress Carroll Baker Nominated Golden Globe Awards Best Director Elia Kazan Won [31] Best Actor – Drama Karl Malden Nominated Best Supporting Actor Eli Wallach Nominated Best Actress – Drama Carroll Baker Nominated New Star of the Year Won Best Supporting Actress Mildred Dunnock Nominated WGA Awards Best Written American Drama – Screen Tennessee Williams Nominated Stage play In the 1970s Williams wrote a full-length stage play, Tiger Tail, based on his screenplay for Baby Doll. The screenplay and stage play have been published in one volume.[32] In 2015, the McCarter Theatre, in Princeton, NJ, premiered a stage version of Baby Doll,[33] adapted by Emily Mann, the theater's artistic director, and Pierre Laville; Laville had written an earlier version which premiered at the Théâtre de l’Atelier in Paris in 2009.[34] The latest adaptation supplemented parts of the movie script with material based on several other Williams works, including Tiger Tail.[35] ****James Byron Dean (February 8, 1931 – September 30, 1955) was an American actor. He is remembered as a cultural icon of teenage disillusionment and social estrangement, as expressed in the title of his most celebrated film, Rebel Without a Cause (1955), in which he starred as troubled teenager Jim Stark. The other two roles that defined his stardom were loner Cal Trask in East of Eden (1955) and surly ranch hand Jett Rink in Giant (1956). After his death in a car crash on September 30, 1955,[1] Dean became the first actor to receive a posthumous Academy Award nomination for Best Actor for his role in East of Eden. Upon receiving a second nomination for his role in Giant the following year, Dean became the only actor to have had two posthumous acting nominations.[2] In 1999, the American Film Institute ranked him the 18th best male movie star of Golden Age Hollywood in AFI's 100 Years...100 Stars list.[3] Contents 1 Early life and education 2 Acting career 2.1 Early career 2.2 East of Eden 2.3 Rebel Without a Cause, Giant and planned roles 3 Personal life 4 Death 4.1 Auto racing hobby 4.2 Accident and aftermath 5 Legacy and iconic status 5.1 Cinema and television 5.2 Youth culture and music 5.3 Sexuality 6 Stage credits 6.1 Broadway 6.2 Off-Broadway 7 Filmography 7.1 Film 7.2 Television 8 Biographical films 9 See also 10 References 11 Further reading 12 External links Early life and education James Byron Dean was born on February 8, 1931, at the Seven Gables apartment on the corner of 4th Street and McClure Street in Marion, Indiana,[4] the only child of Mildred Marie (Wilson) and Winton Dean. He also claimed that his mother was partly Native American, and that his father belonged to a "line of original settlers that could be traced back to the Mayflower".[5] Six years after his father had left farming to become a dental technician, Dean moved with his family to Santa Monica, California. He was enrolled at Brentwood Public School in the Brentwood neighborhood of Los Angeles, California, but transferred soon afterward to the McKinley Elementary School.[6] The family spent several years there, and by all accounts, Dean was very close to his mother. According to Michael DeAngelis, she was "the only person capable of understanding him".[7] In 1938, she was suddenly struck with acute stomach pain and quickly began to lose weight. She died of uterine cancer when Dean was nine years old.[6] Unable to care for his son, Dean's father sent him to live with his aunt and uncle, Ortense and Marcus Winslow, on their farm in Fairmount, Indiana,[8] where he was raised in their Quaker household.[9] Dean's father served in World War II and later remarried. In his adolescence, Dean sought the counsel and friendship of a local Methodist pastor, the Rev. James DeWeerd, who seems to have had a formative influence upon Dean, especially upon his future interests in bullfighting, car racing, and theater.[10] According to Billy J. Harbin, Dean had "an intimate relationship with his pastor, which began in his senior year of high school and endured for many years".[11][12] Their alleged sexual relationship was suggested in Paul Alexander's 1994 book Boulevard of Broken Dreams: The Life, Times, and Legend of James Dean.[13] In 2011, it was reported that Dean once confided in Elizabeth Taylor that he was sexually abused by a minister approximately two years after his mother's death.[14] Other reports on Dean's life also suggest that he was either sexually abused by DeWeerd as a child or had a sexual relationship with him as a late teenager.[12][13] Dean's overall performance in school was exceptional and he was a popular student. He played on the baseball and varsity basketball teams, studied drama, and competed in public speaking through the Indiana High School Forensic Association. After graduating from Fairmount High School in May 1949,[15] he moved back to California with his dog, Max, to live with his father and stepmother. He enrolled in Santa Monica College (SMC) and majored in pre-law. He transferred to UCLA for one semester[16] and changed his major to drama,[17] which resulted in estrangement from his father. He pledged the Sigma Nu fraternity but was never initiated.[18] While at UCLA, Dean was picked from a group of 350 actors to portray Malcolm in Macbeth.[19] At that time, he also began acting in James Whitmore's workshop. In January 1951, he dropped out of UCLA to pursue a full-time career as an actor.[20][21] Acting career Early career Dean in 1953 (aged 22) Dean's first television appearance was in a Pepsi Cola commercial.[22][23][24] He quit college to act full-time and was cast in his first speaking part, as John the Apostle in Hill Number One, an Easter television special dramatizing the Resurrection of Jesus.[25] Dean worked at the widely filmed Iverson Movie Ranch in the Chatsworth area of Los Angeles during production of the program, for which a replica of the tomb of Jesus was built on location at the ranch. Dean subsequently obtained three walk-on roles in movies: as a soldier in Fixed Bayonets! (1951), a boxing cornerman in Sailor Beware (1952),[26] and a youth in Has Anybody Seen My Gal? (1952).[27] While struggling to gain roles in Hollywood, Dean also worked as a parking lot attendant at CBS Studios, during which time he met Rogers Brackett,[28] a radio director for an advertising agency, who offered him professional help and guidance in his chosen career, as well as a place to stay.[29][30] Brackett opened doors for Dean and helped him land his first starring role on Broadway in See the Jaguar.[31] In July 1951, Dean appeared on Alias Jane Doe, which was produced by Brackett.[32][30] In October 1951, following the encouragement of actor James Whitmore and the advice of his mentor Rogers Brackett, Dean moved to New York City. There, he worked as a stunt tester for the game show Beat the Clock, but was subsequently fired for allegedly performing the tasks too quickly.[33] He also appeared in episodes of several CBS television series The Web, Studio One, and Lux Video Theatre, before gaining admission to the Actors Studio to study method acting under Lee Strasberg.[34] In 1952, he had a nonspeaking bit part as a pressman in the movie Deadline – U.S.A., starring Humphrey Bogart.[35][36] Proud of these accomplishments, Dean referred to the Actors Studio in a 1952 letter to his family as "the greatest school of the theater. It houses great people like Marlon Brando, Julie Harris, Arthur Kennedy, Mildred Dunnock, Eli Wallach... Very few get into it ... It is the best thing that can happen to an actor. I am one of the youngest to belong."[29] There, he was classmates and close friends with Carroll Baker, alongside whom he would eventually star in Giant (1956). Dean's career picked up and he performed in further episodes of such early 1950s television shows as Kraft Television Theatre, Robert Montgomery Presents, The United States Steel Hour, Danger, and General Electric Theater. One early role, for the CBS series Omnibus in the episode "Glory in the Flower", saw Dean portraying the type of disaffected youth he would later portray in Rebel Without a Cause (1955). This summer 1953 program featured the song "Crazy Man, Crazy", one of the first dramatic TV programs to feature rock and roll. Positive reviews for Dean's 1954 theatrical role as Bachir, a pandering homosexual North African houseboy, in an adaptation of André Gide's book The Immoralist (1902), led to calls from Hollywood.[37] During the production of The Immoralist, Dean had an affair with actress Geraldine Page.[38] Angelica Page said of their relationship, "According to my mother, their affair went on for three-and-a-half months. In many ways my mother never really got over Jimmy. It was not unusual for me to go to her dressing room through the years, obviously many years after Dean was gone, and find pictures of him taped up on her mirror. My mother never forgot about Jimmy -- never. I believe they were artistic soul mates."[38] Page remained friends with Dean until his death and kept a number of personal mementos from the play—including several drawings by him.[39] East of Eden Dean in East of Eden (1955) In 1953, director Elia Kazan was looking for a substantive actor to play the emotionally complex role of Cal Trask, for screenwriter Paul Osborn's adaptation of John Steinbeck's 1952 novel East of Eden. This book deals with the story of the Trask and Hamilton families over the course of three generations, focusing especially on the lives of the latter two generations in Salinas Valley, California, from the mid-19th century through the 1910s. In contrast to the book, the film script focused on the last portion of the story, predominantly with the character of Cal. Though he initially seems more aloof and emotionally troubled than his twin brother Aron, Cal is soon seen to be more worldly, business savvy, and even sagacious than their pious and constantly disapproving father (played by Raymond Massey) who seeks to invent a vegetable refrigeration process. Cal is bothered by the mystery of their supposedly dead mother, and discovers she is still alive and a brothel-keeping 'madam'; the part was played by actress Jo Van Fleet.[40] Before casting Cal, Elia Kazan said that he wanted "a Brando" for the role and Osborn suggested Dean, a relatively unknown young actor. Dean met with Steinbeck, who did not like the moody, complex young man personally, but thought him to be perfect for the part. Dean was cast in the role and on April 8, 1954, left New York City and headed for Los Angeles to begin shooting.[41][42][43] Much of Dean's performance in the film was unscripted,[44] including his dance in the bean field and his fetal-like posturing while riding on top of a train boxcar (after searching out his mother in nearby Monterey). The best-known improvised sequence of the film occurs when Cal's father rejects his gift of $5,000, money Cal earned by speculating in beans before the US became involved in World War I. Instead of running away from his father as the script called for, Dean instinctively turned to Massey and in a gesture of extreme emotion, lunged forward and grabbed him in a full embrace, crying. Kazan kept this and Massey's shocked reaction in the film. Dean's performance in the film foreshadowed his role as Jim Stark in Rebel Without A Cause. Both characters are angst-ridden protagonists and misunderstood outcasts, desperately craving approval from their fathers.[45] In recognition of his performance in East of Eden, Dean was nominated posthumously for the 1956 Academy Awards as Best Actor in a Leading Role of 1955, the first official posthumous acting nomination in Academy Awards history.[46] (Jeanne Eagels was nominated for Best Actress in 1929,[47] when the rules for selection of the winner were different.) East of Eden was the only film starring Dean released in his lifetime.[48][49] Rebel Without a Cause, Giant and planned roles Natalie Wood and James Dean in Rebel Without a Cause Natalie Wood and Dean in Rebel Without a Cause (1955) Dean quickly followed up his role in Eden with a starring role as Jim Stark in Rebel Without a Cause (1955), a film that would prove to be hugely popular among teenagers. The film has been cited as an accurate representation of teenage angst.[50][51] Following East of Eden and Rebel Without a Cause, Dean wanted to avoid being typecast as a rebellious teenager like Cal Trask or Jim Stark, and hence took on the role of Jett Rink, a Texan ranch hand who strikes oil and becomes wealthy, in Giant, a posthumously released 1956 film. The movie portrays a number of decades in the lives of Bick Benedict, a Texas rancher, played by Rock Hudson; his wife, Leslie, played by Elizabeth Taylor; and Rink.[52] To portray an older version of his character in the film's later scenes, Dean dyed his hair gray and shaved some of it off to give himself a receding hairline. Giant would prove to be Dean's last film. At the end of the film, Dean was supposed to make a drunken speech at a banquet; this is nicknamed the 'Last Supper' because it was the last scene before his sudden death. Due to his desire to make the scene more realistic by actually being inebriated for the take, Dean mumbled so much that director George Stevens decided the scene had to be overdubbed by Nick Adams, who had a small role in the film, because Dean had died before the film was edited. Dean received his second posthumous Best Actor Academy Award nomination for his role in Giant at the 29th Academy Awards in 1957 for films released in 1956.[2] Having finished Giant, Dean was set to star as Rocky Graziano in a drama film, Somebody Up There Likes Me (1956), and, according to Nicholas Ray himself, he was going to do a story called Heroic Love with the director.[53] Dean's death terminated any involvement in the projects but Somebody Up There Likes Me still went on to earn both commercial and critical success, winning two Oscars and grossing $3,360,000, with Paul Newman playing the role of Graziano. Personal life Screenwriter William Bast was one of Dean's closest friends, a fact acknowledged by Dean's family.[54] According to Bast, he was Dean's roommate at UCLA and later in New York, and knew Dean throughout the last five years of his life.[55] While at UCLA, Dean dated Beverly Wills, an actress with CBS, and Jeanette Lewis, a classmate. Bast and Dean often double-dated with them. Wills began dating Dean alone, later telling Bast, "Bill, there's something we have to tell you. It's Jimmy and me. I mean, we're in love."[56]: 71  They broke up after Dean "exploded" when another man asked her to dance while they were at a function.[56]: 74  Bast, who was also Dean's first biographer,[57] would not confirm whether he and Dean had a sexual relationship until 2006.[55][58][59] In his book Surviving James Dean, Bast was more open about the nature of his relationship with Dean, writing that they had been lovers one night while staying at a hotel in Borrego Springs.[60] In his book, Bast also described the difficult circumstances of their involvement. In 1996, actress Liz Sheridan detailed her relationship with Dean in New York in 1952, saying it was "just kind of magical.[61] It was the first love for both of us."[62] Sheridan published her memoir, Dizzy & Jimmy: My Life with James Dean; A Love Story, in 2000. While living in New York, Dean was introduced to actress Barbara Glenn by their mutual friend Martin Landau.[63] They dated for two years, often breaking up and getting back together.[63] In 2011, their love letters were sold at auction for $36,000.[64] Early in Dean's career, after Dean signed his contract with Warner Brothers, the studio's public relations department began generating stories about Dean's liaisons with a variety of young actresses who were mostly drawn from the clientele of Dean's Hollywood agent, Dick Clayton. Studio press releases also grouped Dean together with two other actors, Rock Hudson and Tab Hunter, identifying each of the men as an 'eligible bachelor' who had not yet found the time to commit to a single woman: "They say their film rehearsals are in conflict with their marriage rehearsals."[65] Dean's best-remembered relationship was with young Italian actress Pier Angeli. He met Angeli while she was shooting The Silver Chalice (1954)[66] on an adjoining Warner lot, and with whom he exchanged items of jewelry as love tokens.[67] Angeli, during an interview fourteen years after their relationship ended, described their times together: We used to go together to the California coast and stay there secretly in a cottage on a beach far away from prying eyes. We'd spend much of our time on the beach, sitting there or fooling around, just like college kids. We would talk about ourselves and our problems, about the movies and acting, about life and life after death. We had a complete understanding of each other. We were like Romeo and Juliet, together and inseparable. Sometimes on the beach we loved each other so much we just wanted to walk together into the sea holding hands because we knew then that we would always be together.[56]: 196  Dean was quoted saying about Angeli, "Everything about Pier is beautiful, especially her soul. She doesn't have to be all gussied up. She doesn't have to do or say anything. She's just wonderful as she is. She has a rare insight into life."[68] Dean in 1955 Those who believed Dean and Angeli were deeply in love claimed that a number of forces led them apart. Angeli's mother disapproved of Dean's casual dress and what were, for her at least, unacceptable behavior traits: his T-shirt attire, late dates, fast cars, drinking, and the fact that he was not a Catholic. Her mother said that such behavior was not acceptable in Italy. In addition, Warner Bros., where he worked, tried to talk him out of marrying and he himself told Angeli that he did not want to get married.[56]: 197  Richard Davalos, Dean's East of Eden co-star, claimed that Dean in fact wanted to marry Angeli and was willing to allow their children to be brought up Catholic.[69] An Order for the Solemnization of Marriage pamphlet with the name "Pier" lightly penciled in every place the bride's name is left blank was found amongst Dean's personal effects after his death.[70] Some commentators, such as William Bast and Paul Alexander, believe the relationship was a mere publicity stunt.[71][72] In his autobiography, Elia Kazan, the director of East of Eden, dismissed the notion that Dean could possibly have had any success with women, although he remembered hearing Dean and Angeli loudly making love in Dean's dressing room.[73] Kazan was quoted by author Paul Donnelley as saying about Dean, "He always had uncertain relations with girlfriends."[74] Pier Angeli talked only once about the relationship in her later life in an interview, giving vivid descriptions of romantic meetings at the beach. Dean biographer John Howlett said these read like wishful fantasies,[75] as Bast claims them to be.[29] After finishing his role for East of Eden, Dean took a brief trip to New York in October 1954.[56]: 197  While he was away, Angeli unexpectedly announced her engagement to Italian-American singer Vic Damone. The press was shocked and Dean expressed his irritation.[76] Angeli married Damone the following month. Gossip columnists reported that Dean watched the wedding from across the road on his motorcycle, even gunning the engine during the ceremony, although Dean later denied doing anything so "dumb".[56] Joe Hyams, in his 1992 biography of Dean, James Dean: Little Boy Lost, claims that he visited Dean just as Angeli, then married to Damone, was leaving his home. Dean was crying and allegedly told Hyams she was pregnant, with Hyams concluding that Dean believed the child might be his. Angeli, who divorced Damone and then her second husband, the Italian film composer Armando Trovajoli, was said by friends in the last years of her life to claim that Dean was the love of her life. She died from an overdose of barbiturates in 1971, at the age of 39.[77] Dean also dated Swiss actress Ursula Andress.[78] "She was seen riding around Hollywood on the back of James's motorcycle," writes biographer Darwin Porter. She was also seen with Dean in his sports cars, and was with him on the day he bought the car that he died in.[79] Death Main article: Death of James Dean Auto racing hobby Dean and his Porsche Super Speedster 23F at Palm Springs Races March 1955 In 1954, Dean became interested in developing a career in motorsport. He purchased various vehicles after filming for East of Eden had concluded, including a Triumph Tiger T110 and a Porsche 356.[80][81] Just before filming began on Rebel Without a Cause, he competed in his first professional event at the Palm Springs Road Races, which was held in Palm Springs, California on March 26–27, 1955. Dean achieved first place in the novice class, and second place at the main event. His racing continued in Bakersfield a month later, where he finished first in his class and third overall.[82] Dean hoped to compete in the Indianapolis 500, but his busy schedule made it impossible.[83] Dean's final race occurred in Santa Barbara on Memorial Day, May 30, 1955. He was unable to finish the competition due to a blown piston.[82][84] His brief career was put on hold when Warner Brothers barred him from all racing during the production of Giant.[85] Dean had finished shooting his scenes and the movie was in post-production when he decided to race again. Accident and aftermath The intersection of State Route 46 and State Route 41 was renamed "James Dean Memorial Junction". However the actual accident location is approximately 100 feet (0.019 mi) to the south, due to road realignment. Longing to return to the "liberating prospects" of motor racing, Dean traded in his Speedster for a new, more powerful and faster 1955 Porsche 550 Spyder and entered the upcoming Salinas Road Race event scheduled for October 1–2, 1955.[86] Accompanying the actor on his way to the track on September 30 was stunt coordinator Bill Hickman, Collier's photographer Sanford Roth, and Rolf Wütherich, the German mechanic from the Porsche factory who maintained Dean's Spyder, "Little Bastard" car.[87][88] Wütherich, who had encouraged Dean to drive the car from Los Angeles to Salinas to break it in, accompanied Dean in the Porsche. At 3:30 p.m., Dean was ticketed for speeding, as was Hickman, who was following behind in another car.[89] As the group was driving westbound on U.S. Route 466 (currently SR 46) near Cholame, California, at approximately 5:45 p.m.,[90] a 1950 Ford Tudor, driven by 23-year-old California Polytechnic State University student Donald Turnupseed, was travelling east. Turnupseed made a left turn onto Highway 41 headed north, toward Fresno[91] ahead of the oncoming Porsche.[87][92][93] Dean, unable to stop in time, slammed into the passenger side of the Ford, resulting in Dean's car bouncing across the pavement onto the side of the highway. Dean's passenger, Wütherich, was thrown from the Porsche, while Dean was trapped in the car and sustained numerous fatal injuries, including a broken neck.[94] Turnupseed exited his damaged vehicle with minor injuries. The accident was witnessed by a number of passersby who stopped to help. Dean's biographer George Perry wrote that a woman with nursing experience attended to Dean and detected a weak pulse, but he also contrarily wrote that "death appeared to have been instantaneous".[94] Dean was pronounced dead on arrival shortly after he arrived by ambulance at the Paso Robles War Memorial Hospital at 6:20 p.m.[95] Though initially slow to reach newspapers in the Eastern United States, details of Dean's death rapidly spread via radio and television. By October 2, his death had received significant coverage from domestic and foreign media outlets.[96][97] Dean's funeral was held on October 8, 1955, at the Fairmount Friends Church in Fairmount, Indiana. The coffin remained closed to conceal his severe injuries. An estimated 600 mourners were in attendance, while another 2,400 fans gathered outside of the building during the procession.[96] He is buried at Park Cemetery in Fairmount, second road to the right from the main entrance, and up the hill on the right, facing the drive.[98] An inquest into Dean's death occurred three days later at the council chambers in San Luis Obispo,[99] where the sheriff-coroner's jury delivered a verdict that he was entirely at fault due to speeding, and that Turnupseed was innocent of any criminal act.[100][101] However, according to an article in the Los Angeles Times of October 1, 2005, a former California Highway Patrol officer who had been called to the scene, Ron Nelson,[102] contradicted reports that Dean had been traveling at 90 mph, stating "the wreckage and the position of Dean's body indicated his speed at the time of the accident was more like 55 mph".[103] A "James Dean Monument" has been placed at Shandon next to Highway 46, and stands to this day. Legacy and iconic status Cinema and television American teenagers of the mid-1950s, when Dean's major films were first released, identified with Dean and the roles he played, especially that of Jim Stark in Rebel Without a Cause. The film depicts the dilemma of a typical teenager of the time, who feels that no one, not even his peers, can understand him. Humphrey Bogart commented after Dean's death about his public image and legacy: "Dean died at just the right time. He left behind a legend. If he had lived, he'd never have been able to live up to his publicity."[104] Joe Hyams says that Dean was "one of the rare stars, like Rock Hudson and Montgomery Clift, whom both men and women find sexy".[105] According to Marjorie Garber, this quality is "the undefinable extra something that makes a star".[106] Dean's iconic appeal has been attributed to the public's need for someone to stand up for the disenfranchised young of the era,[107] and to the air of androgyny that he projected onscreen.[108] Dean has been a touchstone of many television shows, films, books and plays. The film September 30, 1955 (1977) depicts the ways various characters in a small Southern town in the US react to Dean's death.[109] The play Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean, written by Ed Graczyk, depicts a reunion of Dean fans on the 20th anniversary of his death. It was staged by the director Robert Altman in 1982, but was poorly received and closed after only 52 performances. While the play was still running on Broadway, Altman shot a film adaptation that was released by Cinecom Pictures in November 1982.[110] On April 20, 2010, a long "lost" live episode of the General Electric Theater called "The Dark, Dark Hours" featuring Dean in a performance with Ronald Reagan was uncovered by NBC writer Wayne Federman while working on a Ronald Reagan television retrospective.[111] The episode, originally broadcast December 12, 1954,[112] drew international attention and highlights were featured on numerous national media outlets including: CBS Evening News, NBC Nightly News, and Good Morning America. It was later revealed that some footage from the episode was first featured in the 2005 documentary, James Dean: Forever Young.[113] James Dean's estate still earns about $5,000,000 per year, according to Forbes magazine.[114] On November 6, 2019, it was announced that Dean's likeness will be used, via CGI, for a Vietnam War film called Finding Jack, based on the Gareth Crocker novel. The movie will be directed by Anton Ernst and Tati Golykh and another actor will voice Dean's part.[115] Although the directors obtained the rights to use Dean's image from his family, the announcement was met with derision by people in the industry.[115][116] Martin Sheen has been vocal throughout his career about being influenced by James Dean.[117] Speaking of the impact Dean had on him, Sheen stated, "All of his movies had a profound effect on my life, in my work and all of my generation. He transcended cinema acting. It was no longer acting, it was human behavior."[118] For Terrence Malick's debut film Badlands, Sheen based his characterization of Kit Carruthers, a spree killer loosely inspired by Charles Starkweather, on Dean.[119] Johnny Depp credited Dean as the catalyst that made him want to become an actor.[120] Nicolas Cage also said he wanted to go into acting because of Dean.[121] "I started acting because I wanted to be James Dean. I saw him in Rebel Without a Cause, East of Eden. Nothing affected me – no rock song, no classical music – the way Dean affected me in Eden. It blew my mind. I was like, 'That's what I want to do'," Cage said.[122] Robert De Niro cited Dean as one of his acting inspirations in an interview.[123] Leonardo DiCaprio also cited Dean as one of his favorite and most influential actors.[124] When asked about which performances stayed with him the most in an interview, DiCaprio responded, "I remember being incredibly moved by Jimmy Dean, in East of Eden. There was something so raw and powerful about that performance. His vulnerability…his confusion about his entire history, his identity, his desperation to be loved. That performance just broke my heart."[125] Youth culture and music Numerous commentators have asserted that Dean had a singular influence on the development of rock and roll music. According to David R. Shumway, a researcher in American culture and cultural theory at Carnegie Mellon University, Dean was the first iconic figure of youthful rebellion and "a harbinger of youth-identity politics". The persona Dean projected in his movies, especially Rebel Without a Cause, influenced Elvis Presley[126] and many other musicians who followed,[127] including the American rockers Eddie Cochran and Gene Vincent. In their book, Live Fast, Die Young: The Wild Ride of Making Rebel Without a Cause, Lawrence Frascella and Al Weisel wrote, "Ironically, though Rebel had no rock music on its soundtrack, the film's sensibility—and especially the defiant attitude and effortless cool of James Dean—would have a great impact on rock. The music media would often see Dean and rock as inextricably linked [...] The industry trade magazine Music Connection even went so far as to call Dean 'the first rock star'."[128] As rock and roll became a revolutionary force that affected the culture of countries around the world,[129] Dean acquired a mythic status that cemented his place as a rock and roll icon.[130] Dean himself listened to music ranging from African tribal music[131] to the modern classical music of Stravinsky[132] and Bartók,[133] as well as to contemporary singers such as Frank Sinatra.[132] While the magnetism and charisma manifested by Dean onscreen appealed to people of all ages and sexuality,[134] his persona of youthful rebellion provided a template for succeeding generations of youth to model themselves on.[135][136] In his book, The Origins of Cool in Postwar America, Joel Dinerstein describes how Dean and Marlon Brando eroticized the rebel archetype in film,[137] and how Elvis Presley, following their lead, did the same in music. Dinerstein details the dynamics of this eroticization and its effect on teenage girls with few sexual outlets.[138] Presley said in a 1956 interview with Lloyd Shearer for Parade magazine, "I've made a study of Marlon Brando. And I've made a study of poor Jimmy Dean. I've made a study of myself, and I know why girls, at least the young 'uns, go for us. We're sullen, we're broodin', we're something of a menace. I don't understand it exactly, but that's what the girls like in men. I don't know anything about Hollywood, but I know you can't be sexy if you smile. You can't be a rebel if you grin."[139] Dean and Presley have often been represented in academic literature and in journalism as embodying the frustration felt by young white Americans with the values of their parents,[140][141] and depicted as avatars of the youthful unrest endemic to rock and roll style and attitude. The rock historian Greil Marcus characterized them as symbols of tribal teenage identity which provided an image that young people in the 1950s could relate to and imitate.[142][143] In the book Lonely Places, Dangerous Ground: Nicholas Ray in American Cinema, Paul Anthony Johnson wrote that Dean's acting in Rebel Without a Cause provided a "performance model for Presley, Buddy Holly, and Bob Dylan, all of whom borrowed elements of Dean's performance in their own carefully constructed star personas".[144] Frascella and Weisel wrote, "As rock music became the defining expression of youth in the 1960s, the influence of Rebel was conveyed to a new generation."[128] Rock musicians as diverse as Buddy Holly,[145] Bob Dylan, and David Bowie regarded Dean as a formative influence.[146] The playwright and actor Sam Shepard interviewed Dylan in 1986 and wrote a play based on their conversation, in which Dylan discusses the early influence of Dean on him personally.[147] A young Bob Dylan, still in his folk music period, consciously evoked Dean visually on the cover of his album, The Freewheelin' Bob Dylan (1963),[148] and later on Highway 61 Revisited (1965),[149] cultivating an image that his biographer Bob Spitz called "James Dean with a guitar".[150] Dean has long been invoked in the lyrics of rock songs, famously in songs such as "A Young Man Is Gone" by the Beach Boys (1963),[151][152] "James Dean" by the Eagles (1974),[153][154] and "James Dean" by the Goo Goo Dolls (1989).[155][156] American musician Taylor Swift referenced him in "Style" (2014).[157] Canadian singer The Weeknd mentioned Dean and his early death in "Ordinary Life" (2016). Sexuality Dean is often considered a sexual icon because of his perceived experimental take on life, which included his ambivalent sexuality. The Gay Times Readers' Awards cited him as the greatest male gay icon of all time.[158] When questioned about his sexual orientation, Dean is reported to have said, "No, I am not a homosexual. But I'm also not going to go through life with one hand tied behind my back."[159] Journalist Joe Hyams suggests that any gay activity Dean might have been involved in appears to have been strictly "for trade", as a means of advancing his career. Some point to Dean's involvement with Rogers Brackett as evidence of this. William Bast referred to Dean as Brackett's "kept boy" and once found a grotesque depiction of a lizard with the head of Brackett in a sketchbook belonging to Dean.[160] Brackett was quoted saying about their relationship, "My primary interest in Jimmy was as an actor—his talent was so obvious. Secondarily, I loved him, and Jimmy loved me. If it was a father-son relationship, it was also somewhat incestuous."[161] James Bellah, the son of American Western author James Warner Bellah, was a friend of Dean's at UCLA, and later stated, "Dean was a user. I don't think he was homosexual. But if he could get something by performing an act....Once...at an agent's office, Dean told me that he had spent the summer as a 'professional house guest' on Fire Island."[162] Mark Rydell also stated, "I don't think he was essentially homosexual. I think that he had very big appetites, and I think he exercised them."[163] However, the "trade only" notion is contradicted by several Dean biographers.[164] Aside from Bast's account of his own relationship with Dean, Dean's fellow motorcyclist and "Night Watch" member, John Gilmore, claimed that he and Dean "experimented" with gay sex on multiple occasions in New York, describing their sexual encounters as "Bad boys playing bad boys while opening up the bisexual sides of ourselves."[165] Gilmore later stated that he believed Dean was more gay than bisexual.[166] On the subject of Dean's sexuality, Rebel director Nicholas Ray is on record saying, "James Dean was not straight, he was not gay, he was bisexual. That seems to confuse people, or they just ignore the facts. Some—most—will say he was heterosexual, and there's some proof for that, apart from the usual dating of actresses his age. Others will say no, he was gay, and there's some proof for that too, keeping in mind that it's always tougher to get that kind of proof. But Jimmy himself said more than once that he swung both ways, so why all the mystery or confusion?"[167][168] Martin Landau, a good friend of Dean's whom he met at the Actors Studio, stated, "A lot of people say Jimmy was hell-bent on killing himself. Not true. A lot of gay guys make him out to be gay. Not true. When Jimmy and I were together we'd talk about girls. Actors and girls. We were kids in our early 20s. That was what we aspired to."[169] Elizabeth Taylor, with whom Dean had become friends with while working together on Giant, referred to Dean as gay along with Montgomery Clift and Rock Hudson during a speech at the GLAAD Media Awards in 2000.[170] When questioned about Dean's sexuality by the openly gay journalist Kevin Sessums for POZ magazine, Taylor responded, "He hadn't made up his mind. He was only 24 when he died. But he was certainly fascinated by women. He flirted around. He and I … twinkled."[171] Stage credits Broadway See the Jaguar (1952) The Immoralist (1954) – based on the book by André Gide Off-Broadway The Metamorphosis (1952) – based on the short story by Franz Kafka The Scarecrow (1954) Women of Trachis (1954) – translation by Ezra Pound Filmography This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Find sources: "James Dean" – news · newspapers · books · scholar · JSTOR (September 2018) (Learn how and when to remove this template message) Film Year Title Role Director Notes 1951 Fixed Bayonets! Doggie Samuel Fuller Uncredited 1952 Sailor Beware Boxing Trainer Hal Walker Uncredited 1952 Deadline – U.S.A. Copyboy Richard Brooks Uncredited 1952 Has Anybody Seen My Gal? Youth at Soda Fountain Douglas Sirk Uncredited 1953 Trouble Along the Way Football Spectator Michael Curtiz Uncredited 1955 East of Eden Cal Trask Elia Kazan Golden Globe Special Achievement Award for Best Dramatic Actor Jussi Award for Best Foreign Actor Nominated – Academy Award for Best Actor Nominated – BAFTA Award for Best Foreign Actor 1955 Rebel Without a Cause Jim Stark Nicholas Ray Nominated – BAFTA Award for Best Foreign Actor 1956 Giant Jett Rink George Stevens Nominated – Academy Award for Best Actor Television Year Title Role Notes 1951 Family Theater John the Apostle Episode: "Hill Number One: A Story of Faith and Inspiration" 1951 The Bigelow Theatre Hank Episode: "T.K.O." 1951 The Stu Erwin Show Randy Episode: "Jackie Knows All" 1952 CBS Television Workshop G.I. Episode: "Into the Valley" 1952 Hallmark Hall of Fame Bradford Episode: "Forgotten Children" 1952 The Web Himself Episode: "Sleeping Dogs" 1952–1953 Kraft Television Theatre Various Characters Episodes: "Prologue to Glory", "Keep Our Honor Bright" and "A Long Time Till Dawn" 1952–1955 Lux Video Theatre Various Characters Episodes: "The Foggy, Foggy Dew" and "The Life of Emile Zola" 1953 The Kate Smith Hour The Messenger Episode: "The Hound of Heaven" 1953 You Are There Robert Ford Episode: "The Capture of Jesse James" 1953 Treasury Men in Action Various Characters Episodes: "The Case of the Watchful Dog" and "The Case of the Sawed-Off Shotgun" 1953 Tales of Tomorrow Ralph Episode: "The Evil Within" 1953 Westinghouse Studio One Various Characters Episodes: "Ten Thousand Horses Singing", "Abraham Lincoln" and "Sentence of Death" 1953 The Big Story Rex Newman Episode: "Rex Newman, Reporter for the Globe and News" 1953 Omnibus Bronco Evans Episode: "Glory in the Flower" 1953 Campbell Summer Soundstage Various Characters Episodes: "Something for an Empty Briefcase" and "Life Sentence" 1953 Armstrong Circle Theatre Joey Frasier Episode: "The Bells of Cockaigne" 1953 Robert Montgomery Presents Paul Zalinka Episode: "Harvest" 1953–1954 Danger Various Characters Episodes: "No Room", "Death Is My Neighbor", "The Little Woman" and "Padlocks" 1954 The Philco Television Playhouse Rob Episode: "Run Like a Thief" 1954 General Electric Theater Various Characters Episodes: "I'm a Fool" and "The Dark, Dark Hours" 1955 The United States Steel Hour Fernand Lagarde Episode: "The Thief" 1955 Schlitz Playhouse Jeffrey Latham Episode: "The Unlighted Road" Biographical films James Dean also known as James Dean: Portrait of a Friend (1976) with Stephen McHattie as James Dean James Dean: The First American Teenager (1976), a television biography that includes interviews with Sal Mineo, Natalie Wood and Nicholas Ray. Forever James Dean (1988), Warner Home Video (1995) James Dean: The Final Day features interviews with William Bast, Liz Sheridan and Maila Nurmi. Dean's bisexuality is openly discussed. Episode of Naked Hollywood television miniseries produced by The Oxford Film Company in association the BBC, aired in the US on the A&E Network, 1991. James Dean: Race with Destiny (1997) directed by Mardi Rustam, starring Casper Van Dien as James Dean. James Dean (fictionalized TV biographical film) (2001) with James Franco as James Dean James Dean – Outside the Lines (2002), episode of Biography, US television documentary includes interviews with Rod Steiger, William Bast, and Martin Landau (2002). Living Famously: James Dean, Australian television biography includes interviews with Martin Landau, Betsy Palmer, William Bast, and Bob Hinkle (2003, 2006). James Dean – Kleiner Prinz, Little Bastard aka James Dean – Little Prince, Little Bastard, German television biography, includes interviews with William Bast, Marcus Winslow Jr, Robert Heller (2005) Sense Memories (PBS American Masters television biography) (2005) James Dean – Mit Vollgas durchs Leben, Austrian television biography includes interviews with Rolf Weutherich and William Bast (2005). Two Friendly Ghosts (2012) Joshua Tree, 1951: A Portrait of James Dean (2012), with James Preston as James Dean.[172] Life (2015). Directed by Anton Corbijn, starring Dane DeHaan as Dean. See also List of oldest and youngest Academy Award winners and nominees – Youngest nominees for Best Actor in a Leading Role List of LGBTQ Academy Award winners and nominees — Best Actor in a Leading Role nominees alleged to be LGBTQ List of actors with Academy Award nominations List of actors with two or more Academy Award nominations in acting categories**Rebel Without a Cause is a 1955 American coming-of-age drama film about emotionally confused suburban, middle-class teenagers. Filmed in the then recently introduced CinemaScope format and directed by Nicholas Ray, it offered both social commentary and an alternative to previous films depicting delinquents in urban slum environments.[3][4] The film stars James Dean, Sal Mineo, and Natalie Wood. The film was a groundbreaking attempt to portray the moral decay of American youth, critique parental style, and explore the differences and conflicts between generations. The title was adopted from psychiatrist Robert M. Lindner's 1944 book, Rebel Without a Cause: The Hypnoanalysis of a Criminal Psychopath. The film, however, does not make any references to Lindner's book in any way. Warner Bros. released the film on October 27, 1955, nearly a month after Dean's death in a car accident on September 30, 1955. Over the years the film has achieved landmark status for the performance of Dean, fresh from his Oscar nominated role in East of Eden, in his most celebrated role. This was the only film during Dean's lifetime in which he received top billing. In 1990, Rebel Without a Cause was added to the Library of Congress's National Film Registry as being deemed "culturally, historically, and aesthetically significant".[5][6] Contents 1 Plot 2 Cast 3 Production 4 Reception 5 Awards and accolades 6 Costumes and props 7 In popular culture 7.1 Music 7.2 Film 8 See also 9 References 10 External links Plot Jim Stark is in police custody. In Los Angeles during the mid-1950s, teenager Jim Stark is arrested and taken to the juvenile division of a police station for public intoxication. At the station he crosses paths with John "Plato" Crawford, who was brought in for killing a litter of puppies, and Judy, who was brought in for curfew violation. The three each separately reveal their innermost frustrations to the officers; all three of them suffer from problems at home: Jim feels betrayed and anguished by his constantly bickering parents, Frank and Carol, but even more so by his father's timid attitude and failure to stand up to Carol; the issues are further complicated by Frank's interfering mother. His frustrations are made manifest to officer Ray Fremick when Jim is released to their custody. Judy is convinced that her father ignores her because she is no longer a little girl, so she dresses up in racy clothes to get attention, which only causes her father to call her a "dirty tramp". Plato's father abandoned his family when he was a toddler, and his mother is often away from home, leaving Plato in the care of his housekeeper. On the way to his first day at Dawson High, Jim again meets Judy and offers her a ride. Seemingly unimpressed by Jim at first, she declines and is instead picked up by her "friends", a gang of delinquents led by Buzz Gunderson. Jim is shunned by the rest of the student body but is befriended by Plato, who comes to idolize Jim as a father figure. After a field trip to Griffith Observatory, Buzz provokes and challenges Jim to a knife fight. Jim beats Buzz in the knife fight, so to preserve his status as gang leader, Buzz suggests stealing some cars to have a "Chickie Run" at a seaside cliff. At home, Jim ambiguously asks his father for advice about defending one's honor in a dangerous situation, but Frank advises him against confrontation of any kind. That night, during the chickie run, Buzz plunges to his death when the strap on his jacket sleeve becomes entangled with his door-latch lever, preventing him from exiting the car in time. As police approach, the gang flees, leaving Judy behind, but Jim patiently persuades her to leave with him and Plato. Jim confronts his father while his mother watches. Jim later confides to his parents his involvement in the crash and considers turning himself in. When Carol declares they are moving again, Jim protests and pleads with Frank to stand up for him; but when Frank refuses, Jim attacks him in frustration, then storms off to the police station to confess, only to be turned away by the desk sergeant. Jim drives back home, and finds Judy waiting for him. She apologizes for her prior treatment of him due to peer pressure, and the two begin to fall in love. Agreeing that they will never return to their respective homes, Jim suggests they visit an old deserted mansion Plato told him about. Meanwhile, Plato is intercepted by three members of Buzz's gang, who are convinced that Jim betrayed them to the police. They steal Plato's address book and go off after Jim; Plato retrieves his mother's gun and leaves to warn Jim and Judy, finding them at the mansion. The three new friends act out a fantasy as a family. Plato then falls asleep, and Jim and Judy leave to explore the mansion, where they share their first kiss and voice their love. Buzz's gang find and wake up Plato, who, frightened and distraught, shoots and wounds one of the gang. When Jim returns, he attempts to restrain Plato, but he flees, accusing Jim of leaving him behind. Plato runs to the observatory and barricades himself inside as more police converge including Fremick who, with Frank and Carol, have been searching for Jim. Jim and Judy follow Plato into the observatory, where Jim persuades Plato to trade the gun for his red jacket; Jim quietly removes the ammunition before returning it, and then convinces Plato to come outside. But when the police notice that Plato still has the gun they shoot Plato down as he charges them, unaware that Jim had removed the bullets. Frank comforts his grieving son, vowing to be a stronger father. Now reconciled to his parents, Jim introduces them to Judy. Cast James Dean as Jim Stark Natalie Wood as Judy Sal Mineo as John "Plato" Crawford Jim Backus as Frank Stark Ann Doran as Carol Stark Corey Allen as Buzz Gunderson William Hopper as Judy's father Rochelle Hudson as Judy's mother Edward Platt as Inspector Ray Fremick Marietta Canty as the Crawford family maid Virginia Brissac as Grandma Stark Dennis Hopper as Goon Jack Grinnage as Moose Frank Mazzola as Crunch Ian Wolfe as Dr. Minton, lecturer at planetarium Beverly Long as Helen Robert Foulk as Gene Jack Simmons as Cookie Tom Bernard as Harry Nick Adams as Chick Steffi Sidney as Mil Clifford Morris as Cliff Production Warner Brothers had bought the rights to Lindner's book, intending to use the title for a film. Attempts to create a film version in the late 1940s eventually ended without a film or even a full script being produced. When Marlon Brando did a five-minute screen test for the studio in 1947, he was given fragments of one of the partial scripts. However, Brando was not auditioning for Rebel Without a Cause, and there was no offer of any part made by the studio. The film, as it later appeared, was the result of a totally new script written in the 1950s that had nothing to do with the Brando test. The screen test is included on a 2006 special edition DVD of the 1951 film A Streetcar Named Desire. According to a biography of Natalie Wood, she almost did not get the role of Judy because Nicholas Ray thought that she did not fit the role of the wild teen character. While on a night out with friends, she got into a car accident. Upon hearing this, Ray rushed to the hospital. While in delirium, Wood overheard the doctor murmuring and calling her a "goddamn juvenile delinquent"; she soon yelled to Ray, "Did you hear what he called me, Nick?! He called me a goddamn juvenile delinquent! Now do I get the part?!"[7][8] Dawson High School, the school in the film, was actually Santa Monica High School, located in Santa Monica, California. Exterior scenes at the abandoned mansion to which the characters retreat were filmed at the William O. Jenkins House, previously used in the film Sunset Boulevard (1950). It was demolished just two years after filming.[9] Irving Shulman, who adapted Nicholas Ray's initial film story into the screenplay, had considered changing the name of James Dean's character to Herman Deville, according to Jurgen Muller's Movies of the '50s. He originally had written a number of scenes that were shot and later cut from the final version of the film. According to an AFI interview with Stewart Stern, with whom Shulman worked on the screenplay, one of the scenes was thought to be too emotionally provocative to be included in the final print of the film. It portrayed the character of Jim Stark inebriated to the point of belligerence screaming at a car in the parking lot "It's a little jeep jeep! Little jeep, jeep!" The scene was considered unproductive to the story's progression by head editor William H. Ziegler and ultimately was cut. In 2006, members of the Film Society of Lincoln Center petitioned to have the scene printed and archived for historical preservation. Sal Mineo would later note in a 1972 interview that the character of Plato Crawford was intended to have been gay. Speaking to Boze Hadleigh, he said, "[It m]akes sense [that Plato was killed off]: he was, in a way, the first gay teenager in films. You watch it now, you know he had the hots for James Dean. You watch it now, and everyone knows about Jimmy['s bisexuality], so it's like he had the hots for Natalie [Wood] and me. Ergo, I had to be bumped off, out of the way."[10] The film was in production from March 28 to May 26, 1955. When production began, Warner Bros. considered it a B-movie project, and Ray used black-and-white film stock. When Jack L. Warner realized James Dean was a rising star and a hot property, filming was switched to color stock, and many scenes had to be reshot in color. It was shot in the widescreen CinemaScope format, which had been introduced two years previously. With its densely expressive images, the film has been called a "landmark ... a quantum leap forward in the artistic and technical evolution of a format."[11] The 1949 Mercury two-door sedan James Dean drove in the movie is part of the permanent collection at the National Automobile Museum in Reno, Nevada. Reception Natalie Wood, Sal Mineo, and Nicholas Ray were nominated for Academy awards for their roles in Rebel Without a Cause, which grossed $7,197,000 in domestic and overseas screenings, making it Warner Bros.' second-biggest box office draw that year.[12] The movie opened to mixed reviews when it was released on October 27, 1955, less than a month after James Dean, whose performance was praised all around by film critics, died on September 30. William Zinsser, however, wrote a scathing review of Rebel in his New York Herald Tribune column, concluding his summary of the film's plot with the words, “All this takes two hours, but it seems more like two days. The movie is written and acted so ineptly, directed so sluggishly, that all names but one will be omitted here. The exception is Dean, the gifted young actor who was killed last month. His rare talent and appealing personality even shine through this turgid melodrama."[12] Bosley Crowther, writing in The New York Times, described Rebel Without a Cause as "violent, brutal and disturbing", and as an excessively graphic depiction of teen-agers and their "weird ways". He referred to a "horrifying duel with switchblades", a "brutal scene", and a "shocking presentation" of a race in stolen automobiles. Although he admitted that there are moments of accuracy and truth in the film, he found these "excruciating", and discerned a "pictorial slickness" in the production's use of the CinemaScope process and its filming in the widescreen format, a slickness he declared was at odds with the realism of Ray's directing. Crowther was not impressed by James Dean's acting, and cited the various mannerisms he believed Dean copied from Marlon Brando, asserting that "Never have we seen a performer so clearly follow another's style" and calling Dean's interpretation of the Jim Stark role a "clumsy display".[13] Reviewer Jack Moffitt of The Hollywood Reporter, who correctly thought the film would be a money maker, wrote a less critical, more laudatory review. He found the acting of James Dean, Natalie Wood, and Sal Mineo to be "extraordinarily good", and the direction by Nicholas Ray to be "outstanding". He praised the realistic manner in which Ray depicted the police station scenes and the engaging manner, according to Moffitt, in which he captured the nihilism of the teenage subculture for his audience. Moffitt took issue with the underlying ideology of the film, however, especially its implication, as he saw it, that professional bureaucrats could better guide youth than the American family unit itself. He criticized the film for overgeneralizing, calling this aspect a "convenient cliche", and summed up his review by describing the film as "a superficial treatment of a vital problem that has been staged brilliantly".[14] Robert J. Landry, managing editor of Variety magazine at the time, wrote a review published on October 26. He described Rebel as a "fairly exciting, suspenseful and provocative, if also occasionally far-fetched, melodrama of unhappy youth on another delinquency kick." Unlike some movie critics, Landry thought that James Dean, under the influence of Nicholas Ray's direction, had mostly freed his acting of the mannerisms characteristic of Marlon Brando's style, and that his performance in the movie was "very effective". He praised Dean's interpretation of a maladjusted teenager, noting his ability "to get inside the skin" of his character as "not often encountered".[15] Wanda Hale of the New York Daily News found fault with Rebel's depiction, in her view, of its adults as cardboard figures and of its middle-class teenagers as hoodlums, arguing that it lacked credibility and that "[a]s an honest purposeful drama of juvenile hardness and violence the film just doesn't measure up." On the other hand, she praised James Dean's acting, writing, "[w]ith complete control of the character, he gives a fine, sensitive performance of an unhappy, lonely teenager, tormented by the knowledge of his emotional instability."[16] Rebel was censored in Britain by the British Board of Film Censors and released with scenes cut and an X-rating.[17][18] Most of the knife fight was excised and not shown on British screens until 1967.[19] The film was banned in New Zealand in 1955 by Chief Censor Gordon Mirams, out of fears that it would incite 'teenage delinquency', only to be released on appeal the following year with scenes cut and an R16 rating.[20][21] Rebel was also banned in Spain, where it had to be smuggled into the country for private screenings, and wasn't officially released there until 1964.[12] Rebel Without a Cause holds a 93% fresh rating on Rotten Tomatoes based on 54 reviews, with an average rating of 8.20/10. The critical consensus reads, "Rebel Without a Cause is a searing melodrama featuring keen insight into '50s juvenile attitude and James Dean's cool, iconic performance."[22] Awards and accolades Award Category Nominee(s) Result Academy Awards Best Supporting Actor Sal Mineo Nominated Best Supporting Actress Natalie Wood Nominated Best Motion Picture Story Nicholas Ray Nominated British Academy Film Awards Best Film Nominated Best Foreign Actor James Dean Nominated Cahiers du Cinéma Best Film Nicholas Ray Nominated Golden Globe Awards Most Promising Newcomer – Female Natalie Wood Won National Film Preservation Board National Film Registry Inducted Online Film & Television Association Awards Hall of Fame – Motion Picture Won Saturn Awards Best DVD or Blu-ray Collection James Dean Ultimate Collector's Collection Nominated . ebay5891 folder 176

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