Ann Doran | Scott's Film Reviews-1,425 + Reviews posted so far!!!

Rebel Without a Cause-1955

Director Nicholas Ray

Starring James Dean, Natalie Wood

Scott’s Review #885

Reviewed April 14, 2019

Grade: A

Rebel Without a Cause (1955) is usually most associated with being the best-remembered film of star James Dean’s short-lived career. East of Eden (1955) and Giant (1956) are his other notable films in a much too brief time.

With Rebel Without a Cause Dean and underappreciated director, Nicholas Ray crafted a story about teenage angst and rebellion that has brilliant authenticity and was the first of its kind to influence countless other films.

In Los Angeles, three teenagers meet and commiserate at the juvenile section of the police station, revealing their respective crimes. Jim Stark (Dean) has been brought in for drunkenness and meets John “Plato” Crawford (Sal Mineo), who was brought in for killing a litter of puppies, and Judy (Natalie Wood), who was brought in for curfew violation.

All three of them suffer from problems at home and confide in one another with their deepest revelations becoming connected and bonded for life.

To complicate matters Jim is a new student and must endure challenges associated with this in addition to his troubled home life. His main rival is Buzz Gunderson (Corey Allen), who challenges Jim to a knife fight and finally a deadly “Chickie Run” game.

This leads to Buzz’s death which infuriates his gang who mistakenly assumes that Jim ratted them to the cops. This puts a target on Jim’s back as he slowly falls in love with Judy and develops a deep friendship with Sal who idolizes him.

One key to the success of Rebel Without a Cause is in the casting. Dean, rebellious in real life and the roles he portrayed chews up each scene he appears in.

The famous scene in which Jim quarrels with his father (Jim Backus) results in a bombastic emotional unraveling and an exclamation of “You’re tearing me apart!” as his blind-sided parents bicker with one another over how best to handle the situation.

Dean is a pivotal reason for the film’s success and landmark status.

Wood infuses her character of Judy with poignancy and a calm demeanor. Judy is a good kid but behaves wildly out of frustration over her inability to communicate with her deliberately distant father (William Hopper).

Finally, Plato (Mineo), who is so sensitive that he threatens to break apart at the seams, has taken to killing puppies as a desperate cry for attention from his wealthy, always absent parents.

Wood and Mineo support the film in brilliant form.

Jim and Judy are likable as a pair from opposite sides of the tracks, another influential aspect of the film that became commonplace in oodles of entertainment genres over the years.

Good Girl meets Bad Boy is dangerous, tender, and filled with story possibilities.

It is implied that Plato is in love with Jim but in 1955 films were extremely careful about pushing the envelope much further than an implication when it came to homosexuality. Rumors ran rampant that Dean and director Ray had a torrid love affair off-screen.

Another positive is the entire film is told within twenty-four hours providing excellent pacing and an action-packed emotional punch. The best scenes take place at night especially the deadly car race and the fantastic conclusion at the old deserted mansion the trio of friends claim as their sanctuary.

The tragic final ending is sure to result in the shedding of a tear or two by anyone who watches and is entranced by the powerful finality of the event.

Watching the film in the present day one must appreciate the enormous influence that Rebel Without a Cause achieved.

Some classics that succeeded Rebel and stand out on their own include American Graffiti (1973) The Breakfast Club (1985) and even West Side Story (1961) which also starred Natalie Wood. Each is riddled with teenage angst, hormones, and elevating emotions and all contain a seriousness and a depth all their own.

Rebel Without a Cause (1955) is a film that should be viewed and viewed again for more than the obvious and impressive story it tells.

The film is directed well, and speaks to a generation of unruly and angry teenagers, giving them a much-needed voice. It is fraught with emotion and balance for current and future generations of teenagers to learn from.

Oscar Nominations: Best Motion Picture Story, Best Supporting Actor-Sal Mineo, Best Supporting Actress-Natalie Wood

Topaz-1969

Director Alfred Hitchcock

Starring Frederick Stafford, Karin Dor

Scott’s Review #108

Reviewed July 12, 2014

Grade: A-

Topaz is an intriguing, suspenseful 1969 latter-day Alfred Hitchcock film.

In the political thriller vein, the film typically suffers from being both overlooked and under-appreciated yet receives admiration from film buffs. It is certainly not one of his better-known films and that is quite a shame.

To be fair, as with many great films, it is complex and layered and requires close attention and even multiple viewings.

The issue with Topaz is that the film suffers from a lack of recognizable stars- a trademark of Hitchcock films in his heyday. Frederick Stafford (Andre) and Karin Dor (Juanita) are the featured romantic couple.

Despite his being married to another woman, Andre and Juanita are the couples the audience is intended to root for.

The story involves competing spies from France, the United States, and Cuba all vying for government secrets concerning the Cuban Missile Crisis in the 1960s.

Each spy does their best to obtain the secrets, some in a sinister fashion.

The French accents especially can be tough to understand, but it is a thrilling film that traverses from New York City to Cuba to France. The main protagonist is Andre and Stafford has a high level of charisma and a suave manner.

The character is quite similar to James Bond. The film itself plays out like a Bond film with the exotic locales, the beautiful women, and the political intrigue.

As with most Hitchcock films, the set pieces and art direction are beautiful and perfect. One highlight is a particular character’s death scene in Cuba. Involved in a love story throughout the film, the death is tragic yet heartfelt and very surprising.

Topaz, sadly, was unsuccessful at the box office due to no Hollywood names attached to it and little promotion, although it made several top ten critics lists in 1969.

Topaz is certainly one of the more obscure of Hitchcock films, but an excellent one to be discovered and revered.