Saturday, 20 October 2012
Movie Review: East Of Eden (1955)
Smouldering sibling rivalry and clandestine family secrets collide to rearrange destinies in the loose adaptation of John Steinbeck's East Of Eden. James Dean's first major screen role establishes his persona as the troubled but thoughtful outsider influencing others while trying to define his place in the world.
The mother of the two boys is supposed to have died a long time ago, but Cal suspects something different: he regularly travels on top of the train to the nearby coastal town of Monterey, where the popular local brothel is owned by Kate (Jo Van Fleet). Cal has figured out that Kate is his mother, having walked out on the family. Ironically, once Cal's suspicions about his mother are confirmed, his relationship with his Dad improves, and he takes on more responsibility running the farm, and starts his own side business profiting from the rising price of beans due to the war. Cal and Abra also find themselves attracted to each other, and the changing dynamics start to tear the family apart.
James Dean introduces the movie world to the dangerous teenager persona, caught between dependence and adulthood, clumsily questioning his surroundings and causing discomfort wherever he goes. Dean dominates the screen whenever he is on it, his presence intensely enigmatic despite a relative scarcity of words. His scenes opposite Massey, the young and the old clashing despite themselves, serve up luscious discomfort.
Director Elia Kazan and cinematographer Ted D. McCord add plenty of visual grandeur to East Of Eden, with California's landscapes, farmland, and train transportation allowed to flourish in CinemaScope. The openness of the land is held in contrast to the fragile intimacy of the threads holding Adam's family together.
Familial relationships are born to evolve, and can be damaged, destroyed, or repaired. All three take place in East Of Eden, and pain or agony invariably accompany the redefinition of the ties that bind.
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