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I Owe James Dean an Apology, and Where I Went Wrong

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I Owe James Dean an Apology, and Where I Went Wrong I Owe James Dean an Apology, and Where I Went Wrong By Fearless Young Orphan My History with James Dean On June 27, 2010, I posted my review of the two James Dean movies that were on my list of Unseen Classics (Giant and Rebel Without a Cause). Their presence on my list made the films required viewing for my project, and I paired the two reviews because James Dean was in both films. I point this out because my reasons for watching the movies in the first place had really nothing to do with their being James Dean films, at least from my viewpoint. Because I don't live in a vacuum, I have been aware most of my life of Mr. Dean's legendary status, but because I'm a cynic, I tend to get a little bristly when things or people have a legendary status. So I was approaching the material with some pessimism. It certainly didn't help matters that I saw Giant first and almost hated it. I thought it was bloated, boring and vastly overrated. I took a fairly grim view of Mr. Dean's odd performance in the film. Then I watched Rebel Without a Cause and had a strange experience. I did not care for it much at first, but by the end of that movie I had formed a grudging respect for the young Mr. Dean's work. I liked Rebel more than I thought I would. It did something that movies don't often do any more: it surprised me. It's fun to write bad reviews, and for some reason, it's easier. But within a few days of posting those reviews I began to feel pangs of guilt, and an almost certainty that I had mistaken one thing for another (in this case, that I had over-generalized my dislike of Giant to James Dean as an actor). I was honest about my opinions when I wrote them. So I'm not going to go back and change what I wrote. What bothered me was not that I was hard on the films, but that I was rather hard on Mr. Dean himself. After all, it's not his fault that I so strongly disliked the movie Giant. Despite, or maybe because of, his strange performance, he was the most interesting guy in the movie. Jett Rink is a man who has everything but the one thing he really wants, and it's just eating him up. He acts foolish, and hell if I don't admire Dean for his willingness to immerse himself completely in the foolishness. At the time I posted that review, I wasn't reviewing James Dean but two different movies in which he happened to appear, so Dean-wise, I watched them out of order. From a Dean viewpoint, I should have seen Rebel first and then Giant. Then a wise friend told me, "If you want to appreciate Dean as an actor, you have to see East of Eden." East of Eden is not on my classics list, but it's a perfectly appropriate companion to the other two. Obviously! Damn you, hindsight! So this follow-up is not to rewrite my history but to supplement it. His Fans I asked to hear from James Dean fans and was lucky enough to start a correspondence with a charming and helpful lady, Sandra Weinhardt, who keeps the fire burning at www.deaners.net. Sandra provided me with these heartfelt words on how much Jimmy means to his devoted fans, and I feel she summarized his enduring appeal better than I ever could: James Dean matters to history and to his fans because of his uncompromising dedication to his craft, acting. He expressed emotions in Rebel Without a Cause that most teenagers felt but could not put into words. He exemplified fear of peers, bewilderment at our parents’ problems, longing for connection, the extreme highs and lows in our feelings, and more. Even today, 50% of those polled pick Rebel as their favorite Dean movie, with East of Eden and Giant each getting 25%. To this day, people discover his movies and are caught in the admiration web woven since he made his first Hollywood film. He would not test for small parts once in Hollywood. He had faith, after years of experience, that he could be a star. He endured near-starvation, menial jobs, inadequate clothing and all the other pitfalls of striving actors, but he never lost faith in himself. He wasn’t destroyed by losing his beloved mother in California when he was nine years old. That is a deal-breaker for many children. He had loving relatives who reared him on a family farm back in Indiana. His teacher, Adeline Nall, nourished his ambition, guiding him into competing in oratory contests and being part of the group in high school plays. James Dean, “Jimmy” to his fans, didn’t get caught up in drugs as his fame grew. He lost the love of his life, Pier Angeli, when her mother made her marry Vic Damone (Angeli later committed suicide). She had loved Jimmy, as his fans do to this day, but she could not defy her mother. We fans all agree that James Dean would have become a director in Hollywood, eventually. He was up for the lead in a famous boxing film next, had he not died in his sports car on a badly-marked Highway 41 in California, on his way to race his new Porsche Spyder. The Deaners, Dean’s fans, are a gentle, strong-willed, caring group of people . Jimmy is our icon of strength who overcame all his misfortunes to share his gift with the world. He was gentle with anyone who had lost faith in herself or himself, and he kept his sense of humor when others would have caved in. Silvia Bongiovani started a fan club that still exists, James Dean Remembered, www.tentativetimes.net/jdr/ with probably the best fan magazine published: the Dean Zine. We fans have the normal desire to collect something. We collect Dean merchandise, clothing and the stories of his life. He is our son or brother, lover or best friend. We know he would have gone on to succeed in his field in any job he chose, and we mourn all the lost dreams of those who died too young. We are there for each other. A fan club may seem silly to many people, but Deaners are a real family, forever. We mourn fans who pass on, we cheer for the marriages among us, and we share our triumphs and disappointments. We are and will always be ….. Deaners. Thank you, Sandra! The Real James Dean (2006) Directed by Gary Legon It’s not easy to pick one James Dean biography and go with it, since voluminous quantities of material are available on the man. While I wanted to do a good James Dean follow-up, my project is Unseen Classics, and it is too easy to get sidetracked on one person or career. There are better-qualified people out there who make a thorough study of the young man’s short life. I needed something brief, but encompassing and illuminating, and this warm and sentimental documentary was helpful. It reminded me of something that I’d learned by osmosis but forgotten somehow: James Dean was the first wave of Pop Culture. Whether he caused it, or was just lucky enough to be in the right place at the right time, I could not say; but either way, that’s a rather significant place to hold in modern American history. Don’t worry, I’m not going to tell you his life story here. That’s not my job. I will only say what I came away with the same impression I got about director William Wellman when I was studying his movies on the Unseen Classics list. There are some people who simply take life by the horns and ride it for all its worth. They want to learn everything and experience everything, and when they see something they want, they just make a fearless grab for it. Even failures don’t look like failures to them. Dean seemed to be a person like that. He was obviously sensitive and intelligent, and interested in so many different things that he hardly had time for them all. If Dean had lived, I believe today he’d be someone very much like the great Paul Newman: actor, director, philanthropist, race-car driver, father, businessman. And who knows what else? East of Eden (1955) Directed by Elia Kazan Based on the second half of Steinbeck's classic novel, this is one hell of a good film. Dean stars as young Cal Trask, the "bad" twin in a set of twins who have pressures of Biblical proportions. There is drama of soapy dimensions going on here, an almost ponderous amount of symbolism, and a lot of talk about "good" versus "bad" when the two words are really being used in place of the terms "unthinking" and "thinking." We have the archetypal father figure, Adam Trask (hey, with a name like Adam . .), emotionally walled-off because his heart was broken years ago by the boys' "bad" mother. He has raised the twins on his own and seems to love them, but makes few attempts to understand them. Understanding the "good" Aron comes without effort because Aron is much like his father; understanding the "bad" Cal is more effort than the man wants to expend.
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