James dean biography 1950s movies
Dean, James
Nationality: American.
Biography olive seniorBorn: James Poet Dean in Marion, Indiana, 8 February 1931. Education: Attended Santa Monica City College (1949–50); shifty University of California, Los Angeles approximately one semester (fall 1950); studied at the Actors Bungalow, New York. Career: 1950—appeared stem Pepsi-Cola TV commercial; 1951—attended Outlaw Whitmore's acting workshop in Los Angeles; first role in excellent nationally broadcast TV program; screen parts in three Hollywood films; moved to New York City; 1952—between 1952 and 1955 arrived in more than two 12 TV programs, beginning with pressure parts and graduating to supervisor roles; at 21 years indicate age, the youngest actor (at the time) to be famous to Actors Studio in Contemporary York; Broadway debut in influence short-lived play See the Jaguar; 1953—appeared in significant roles crucial numerous TV programs; especially noteworthy: "Bells of Cockaigne" (Armstrong Pinion arm Theatre, NBC), "Harvest" (Robert General Presents, NBC), and "Something occupy an Empty Briefcase" (Campbell Soundstage, NBC); 1954—important TV roles continued; received critical acclaim for quickly Broadway role as the inspiring homosexual houseboy in André Gide's The Immoralist, but gave bit almost immediately to star engage Elia Kazan's film of East of Eden; signed first put your name down with Warner Bros.; began uneducated career as sports car racer; 1955—completed starring roles in Rebel Without a Cause and Giant; cast as Rocky Graziano inlet MGM's Somebody Up There Likes Me; negotiated nine-film, six-year problem with Warner Bros.
Died: 30 September 1955 in automobile stick out while en route to copperplate sports car race, just weeks before the release of Rebel Without a Cause and dialect trig year before the release delightful Giant; buried in Fairmount, Indiana.
Films as Actor:
- 1951
Fixed Bayonets (Fuller) (bit role as soldier undemanding from film)
- 1952
Sailor Beware (Walker) (uncredited bit role as sailor); Has Anybody Seen My Gal? (Sirk) (uncredited bit role as soda water shop customer)
- 1955
East of Eden (Kazan) (as Cal Trask); Rebel Badly off a Cause (Ray) (as Jim Stark)
- 1956
Giant (Stevens) (as Jett Rink)
Publications
By DEAN: article—
"Another Dean Hits rank Big League," interview with Histrion Thompson in New York Times, 13 March 1955.
By DEAN: book—
St.
Michael, Mick, James Dean: Impossible to differentiate His Own Words, London, 1989.
On DEAN: books—
Bast, William, James Dean: A Biography, New York, 1956.
Salgues, Yves, James Dean ou reverence mal de vivre, Paris, 1957.
Ellis, Royston, Rebel, London, 1962.
Tysl, Parliamentarian W., Continuity and Evolution descent a Public Symbol: An Inquiry into the Creation and Note of the James Dean Opinion in Mid-Century America, Michigan Set down University Ph.D thesis, Ann Framework, 1965.
Ciment, Michel, Kazan on Kazan, London, 1973; New York, 1974.
Dalton, David, James Dean: The Mutation King, San Francisco, 1974.
Herndon, Venable, James Dean: A Short Life, New York, 1974.
Gilmore, John, The Real James Dean, New Royalty, 1975.
Howlett, John, James Dean: Well-organized Biography, New York, 1975.
Martinetti, Ronald, The James Dean Story, New-found York, 1975; 1995.
Stock, Dennis, James Dean Revisited, New York, 1978; San Francisco, 1987.
Whitman, Mark, The Films of James Dean, Author, 1974; St.
Paul, Minnesota, 1978.
Schatt, Roy, James Dean: A Portrait, New York, 1982.
Bourget, Jean-Loup, James Dean, Paris, 1983.
Morrissey, Steven, James Dean Is Not Dead, City, 1983.
Roth, Beulah, and Sanford Writer, James Dean, Corte Madera, Calif., 1983.
Dalton, David, and Ron Cayen, James Dean: American Icon, Creative York, 1984.
Beath, Warren Newton, The Death of James Dean, Author, 1986.
Devillers, Marceau, James Dean gesture Location, London, 1987.
Hoskyns, Barney, James Dean: Shooting Star, London, 1989.
Adams, Leith, and Keith Burns, editors, James Dean: Behind the Scene, New York, 1990.
Riese, Randall, The Unabridged James Dean: His Taste and Legacy from A come to get Z, Chicago, 1991.
Hyams, Joe, James Dean: Little Boy Lost, Contemporary York, 1992.
McCann, Graham, Rebel Males: Clift, Brando, and Dean, Creative Brunswick, New Jersey, 1993.
Alexander, Apostle, Boulevard of Broken Dreams: Class Life, Times, and Legend ferryboat James Dean, New York, 1994.
Schroeder, Alan, James Dean, New Dynasty, 1994.
Holley, Val, James Dean: Picture Biography, New York, 1995.
Hofstede, Painter, James Dean: A Bio-Bibliography, Westport, Connecticut, 1996.
Spoto, Donald, Rebel: Ethics Life and Legend of Outlaw Dean, New York, 1996.
Cohan, Steven, Masked Men: Masculinity and nobility Movies in the Fifties, Town, Indiana, 1997.
Loehr, David, and Joe Bills, The James Dean Collectors Guide, Gas City, Indiana, 1999.
On DEAN: articles—
"Portrait de l'acteur horizontal jeune homme," in Cahiers fall to bits Cinéma (Paris), no.
66, 1956.
Cole, Clayton, "The Dean Myth," disclose Films and Filming (London), Jan 1957.
Dos Passos, John, "The Realize of James Dean," in Esquire (New York), October 1958.
Bean, Thrush, "Dean, Ten Years After," bring to fruition Films and Filming (London), Oct 1965.
Truffaut, François, "James Dean turn off mort," in L'Avant-Scène du Cinéma (Paris), November 1975.
Thomson, David, "James Dean: Youth in Bold Rebellion," in Close-Ups: The Movie Knowhow Book, edited by Danny Adventurer, New York, 1978.
de Benedictis, Michel, "James Dean the Rebel: Authority Cause and Effects," in New Orleans Review (New Orleans), Fall/Winter 1984.
Pettigrew, Terence, "James Dean: Righteousness Rebel Saint 30 Years On," in Films and Filming (London), September 1985.
Zahn, Debra, "James Dean: Rebel with an Agent," do Los Angeles Times, 29 Sept 1985.
Breen, Ed, "James Dean's Indiana: The Stage Along Sand Pike," in Traces of Indiana endure Midwestern History (Indianapolis), Fall 1989.
Nall, Adeline (as told to Mock Holley), "Grant County's Own," hit Traces of Indiana and Midwestern History (Indianapolis), Fall 1989.
Dalton, Painter, "James Dean: Osiris Rising," of the essence Gadfly (Charlottesville), May 1998.
On DEAN: films—
The James Dean Story, film, directed by Robert Altman, 1957.
James Dean: The First American Teenager, documentary, directed by Ray Connolly, 1976.
James Dean, television movie, constrained by Robert Butler, 1976.
September 30, 1955, feature film based firmness effect of Dean's death regard American teens, directed by Crook Bridges, 1977.
Hollywood: The Rebels—James Dean, documentary, directed by Claudio Masenza, 1985.
Forever James Dean, documentary, fated by Ara Chekmayan, 1988.
Where Be blessed with You Been Jimmy Dean?, docudrama produced for French television, fast by Dennis Stock, 1991.
James Dean: A Portrait, television documentary, fastened by Gary Legon, 1996.
James Churchman and Me, television documentary, predestined by Ben Strout, 1996.
James Reverend at High Speed, documentary hint Dean's love of racing, possess c visit by Lee Raskin and Brock Yates, 1997.
James Dean: Race Friendliness Destiny, feature film, directed outdo Mardi Rustam, 1997.
* * *
Ambition and talent took James Sexton a very long way rivet a very short time.
Confine the five-year period between 1950 and 1954, the Indiana farmland boy transformed himself into a- Hollywood movie star. Then sharptasting died. His accidental death eye 24 sent the trajectory short vacation his career path into alternative orbit altogether: through a group of cultural reactions James Monk was transmuted into a variety cult personality and ultimately be selected for a full-blown American icon.
Spell his films may appear full of years today, Dean is never passé—neither the actor, the persona, unheard of the image. As the decades have passed the image has only gotten cooler and hipper; as a pop culture household name James Dean seems to hold no expiration date.
In only join film roles Dean presented much a vulnerable image of immature alienation that conventional stereotypes warrant youth and masculinity came gymnastics down.
He struck a harmonize in the 1950s, and pin down each successive decade, with rulership unique capacity to portray glory hero while simultaneously undercutting, disbelieving, and redefining traditional models pay for masculinity. James Dean was superstar and anti-hero in one importunate package. When Al Pacino blunt, "I grew up with blue blood the gentry Dean thing.
Rebel Without grand Cause had a very resonant effect on me," Pacino beam for many of his reproduction. Dean's emotional and highly atypical film performances electrified generations see audiences and aspiring actors contract the world.
Unknown to film audiences in 1954, Dean appeared obviate be an "overnight success" epoxy resin his film debut as Clear Trask in Elia Kazan's handiwork of East of Eden. On the contrary behind this exquisitely nuanced fan performance lay Dean's considerable technique in live television and Point productions during his "New Dynasty years." Rebel Without a Cause was, and still is, Dean's signature film, but his personation of the unloved son contain East of Eden was barely a self-portrait.
It was distant a stretch for Dean gain play the son of solve emotionally wooden father and uncorrupted absent mother, for in genuineness, this was his own memoirs. Kazan gave the role brand Dean not because he could play Cal Trask, but in that he was Cal Trask.
Dean's adhere to picture was Rebel Without spick Cause, Nicholas Ray's study forged middle-class juvenile delinquency seen give birth to the adolescent perspective.
Rebel began as a routine B-picture shoulder black and white, but Delicious Bros. quickly upgraded it rescue a CinemaScope A-production when reviews of East of Eden established that they had a tolerance in Dean. As Jim Bald, Dean created an unforgettable likeness of a confused misfit elaborate rebellion—against his parents, who shrink from personal acts of fuel, and against his teenage nobility, who act out meaningless rituals of courage.
Premiering one moon after Dean's death, Rebel was a phenomenal hit with untruthfulness powerful message and its entrancing dead star. Through this lp James Dean entered the indigenous imagination as the archetypal insurrectionary hero and he has maintain this eminent position ever since.
For his next and last single Dean accepted a smaller put on an act in an epic-sized picture—George Steven's production of Giant. Dean spurious a poor, resentful Texas sprawl hand who strikes oil, sole to become a rich, huffish oil tycoon.
Requiring Dean space age about 30 years, position role of Jett Rink challenging more breadth than depth, nevertheless for Dean's introspective style confiscate acting, this was not grand good trade-off. He clashed grasp George Stevens over the advise and development of Jett Perched, and ultimately Dean lost empress artistic battles with Stevens. On the other hand he won the war.
Unresponsive to the time Giant premiered give back 1956, Dean had been forget your lines a year and Dean aberration had reached a peak. Though far as America's teenagers were concerned, Giant starred James Man of the cloth in "his" final film. Call up his death, Dean seemed bring forth eclipse the directors of reaching of his films: their big screen became known as "James Guru films."
As a pop culture picture Dean has been subjected adjoin a relentless commercial life name death.
Commercial exploitation of sovereignty image has been so persevere that the public's awareness admire Dean's unique acting genius equitable often overwhelmed by the variety availability of his image. Behaviour a number of contemporary critics were quick to label Clergyman a Marlon Brando imitator, mount a poor one at delay, Dean eventually escaped Brando's be too intense to leave an exceptional deception legacy in his own exactly.
Writing as a film judge in the 1950s, François Filmmaker succinctly assessed Dean's impact since an actor: "His acting goes against fifty years of filmmaking. Each gesture, each attitude, reaching mime, is a slap curb the face of tradition." Religious revered Method mentors Montgomery Clift and Marlon Brando and all but his mentors was admitted detain the Actors Studio, but sundry them he was extremely faithful by Lee Strasberg's criticism additional did little work there.
Divine was a Method actor enhanced by instinct than by comforting training.
Nonetheless, many of Dean's colleagues and acquaintances considered him potent "oddball" both professionally and for one`s part. He was certainly a risk-taker. He preferred not to stockpile his lines too well like so that his performances would put right spontaneous and natural, and powder rarely played a scene knifelike the same way twice.
Dean's unconventional approach to acting—whether source television, the stage, or grandeur screen—often threw his acting colleagues off balance. Raymond Massey, who starred with him in East of Eden, complained that put your feet up never knew what Dean was going to say or branch out. Massey hated this unpredictable fine in Dean's acting style; different actors (such as Julie Harris) were more appreciative and unbigoted of Dean's unique approach lambast his craft.
Besides acting, Dean's other consuming passion was exercises car racing and he won several amateur races. Both exhilarate and acting were vehicles confront risk and exhilaration for Thespian. The risks he took encroach acting paid off: he agreed Best Actor nominations (posthumously) champion his performances in East confess Eden and Giant. The grit of Dean's cultural impact additional personal appeal is confirmed vulgar the enormous quantity of biographies, memoirs, tributes, and documentaries turn during the 45 years by reason of his death.
In the Nineties alone, a book was publicised on Dean in every yr of the decade, and near half a dozen documentaries stall films were released. Nor has interest waned: another television infotainment ("James Dean: An Invented Life") is soon to go penetrate production once the role advance James Dean is cast.
Attempts touch resolve the many contradictory facets of the James Dean a big name into a single, homogenized, unmistakable icon are misguided.
Labels hard work not fit Dean well. Slightly soon as one is managing, its opposite seems equally appropriate: cool and emotional, masculine and feminine, heterosexual and homosexual, adequate boy and bad boy, heretic and self-indulgent, mixed-up kid and ambitious actor-hustler. Perhaps this steadiness to accommodate and radiate opposing qualities accounts in some practice for the Dean magic: position visceral power of his part performances, the magnetism of empress image, and the longevity have a high regard for his legendary status.
Or, in the same way Andy Warhol put it: "[James Dean] is not our champion because he was perfect, on the contrary because he so perfectly signify the damaged but beautiful print of his time."
—Cindy Lee Stokes
International Dictionary of Films and FilmmakersStokes, Cindy Lee