EAST OF EDEN

EAST OF EDEN (1955). Director: Elia Kazan.

"You kept on forgiving us, but you never really loved us."

"It's awful not to be loved. It's the worst thing in the world."

In  1917 Monterey, Adam Trask (Raymond Massey), with his sons Caleb (James Dean) and Aron (Richard Davalos), try to make a killing with lettuce kept fresh with ice, but they have bigger problems than hoping this new business will succeed. Aron has always planned to marry Abra (Julie Harris), but there is a growing attraction between her and Cal, who never feels he had his father's love. In the meantime Cal discovers that his supposedly dead mother, Kate (Jo Van Fleet) is actually running a brothel not too far away, something his brother is unaware of. Then there are tensions created by the advent of WW1, and Aron's initial decision to stay out of the fighting. First of all, anyone expecting a literal transcription of John Steinbeck's novelistic take on Cain and Abel must look elsewhere, because this movie only concerns a portion of a very long book, and it makes changes to the plot and characterizations. Taken on it's own terms, however, East of Eden is still a masterpiece, with a wonderful, committed cast, fine direction from Kazan, high-grade cinematography from Ted McCord, and an interesting score by Leonard Rosenman. Whatever impression Dean may have made off-screen, the camera certainly loves him, and this movie probably showcases his mystique the best of his three movies; he is excellent. Although Dean got the lion's share of the attention, Davalos is also compelling as his brother, and there is also some fine work from Van Fleet, Harris and Massey. Burl Ives and Albert Dekker have significant roles and are also good, as is Barbara Baxley as an unpleasant nurse who shows up late in the picture. Yes, there are scenes that are too stagy, dialogue that is too obvious [Dekker unnecessarily bringing up Cain and Abel, as if the audience is too stupid to get it], but the picture is totally absorbing and has a deeply moving wind-up.

Verdict: Hollywood at its best. ****.

GIANT

Elizabeth Taylor and James Dean

GIANT (1956). Director: George Stevens.

Texas rancher Jordan "Bick" Benedict (Rock Hudson) marries the feisty, independent-minded Leslie (Elizabeth Taylor) and comes to realize that meek compliance is not in her nature. Meanwhile, the arrogant, slouching ranch hand Jett Rink (James Dean) discovers oil on the property left to him by Benedict's sister, Luz (Mercedes McCambridge) and is soon even wealthier than Jordan, leading to various complications and a couple of fight scenes. This long, sprawling saga is entertaining for the most part, and features one of Taylor's best performances. Hudson isn't the best casting, but he isn't bad, and the odd Dean makes a minor impression as well. Giant is not really a masterpiece, but it does have some good scenes: the Benedict children discovering that their Thanksgiving dinner is their pet turkey; Leslie telling off the men who think women have no place in politics; Angel (Sal Mineo) "coming home" from WW2. The other cast members include Carolyn Craig (House on Haunted Hill) as Leslie's younger sister; Rod[ney] Taylor as her cast-off suitor, who later on marries said sister; Carroll Baker as Leslie's daughter [in her second film and first big role]; Chill Wills as Uncle Bawley; Dennis Hopper as the Benedict son, Jordy, who, like his mother, has a mind of his own; Elsa Cardenas as Jordy's Mexican wife; and Earl Holliman as Bob, the husband of the youngest Benedict daughter, Judy (Fran Bennett). Of the supporting players, Hopper and McCambridge provide the most vivid performances. Giant has an admirable sub-text on the evils of racism -- both Benedict and Rink are prejudiced against the "wetbacks" -- but this might have had more impact if the Mexican characters, such as Angel, were developed a lot more.

Verdict: Long, but generally sustains interest, and -- surprisingly -- Taylor is the glue holding it all together. ***.

JAMES DEAN: THE BIOGRAPHY

JAMES DEAN: The Biography by Val Holley. St. Martin's Press; 1995.

I've never quite understood or been caught up in the fascination or indeed deification of James Dean. My chief feeling about him is that it's always a tragedy when somebody dies at only 24; other than that he was never of great interest to me. In his short years, Dean piled in a lot of success and interesting experiences, however, many of them detailed by Holley, whose book held my attention despite my general lack of interest in the subject -- which is saying something. How it compares to other Dean books I can't say, although there are some interesting interviews (not all of which sound entirely credible) and much good research. Holley states right off the bat that "no effort has been made to reconcile the conflicting views of Deans' masculinity or sexuality expressed by different sources," which, unfortunately makes the book seem a little schizoid. [Holley seems to feel that Dean was essentially androgynous (?).] If Dean was essentially a homosexual who cast off his early gay friends and helpers as he headed toward stardom, as many people feel, then it makes little sense for Holley to make a big romance out of his fling with actress Pier Angeli; frankly the relationship between the two comes off by any account as little more than a publicity-driven faux romance. The result of Holley's approach is to make Dean still a little mysterious (which may have been his intention) but it also serves to keep the reader at a distance. The Dean that emerges is a rough-hewn talent who was unimpressive in real life but had something special that was captured by the camera. He had many facets, but could be a real a-hole and was rather immature and often pretentious. You get the impression that this poor young dead man wasn't necessarily worthy of all the adoration that has been heaped upon him.

Verdict: If you want some basic info on the actor, this basically well-done if imperfect book will probably do as well as any other. ***.