Jim Stark's Rebel Without A Cause
The 1955 social drama Rebel Without a Cause is a powerful archetype of both its genre and the period of social upheaval that it portrays. Playing the lead role of Jim Stark, actor James Dean personifies the films central theme, a tortuous longing to belong and be loved, unconditionally.
The Stark family, whove recently migrated to suburban Los Angeles, are seeking a fresh start and rehabilitation of their delinquent teenage son. Their aspirations echo the universal theme of yearning for acceptance. Even the family name is metaphor for their hollow portrayal of the mythical blissful nuclear family unit. Its not the first time they have tried to stitch the threadbare fabric of urban conformity. Once again, that tattered shroud is shredded by …show more content…
Reflecting on the Earths insignificance in the universe he witheringly remarks, Through the infinite reaches of space, the problems of man seem trivial and naïve indeed, and man, existing alone, seems himself an episode of little consequence." Jims schoolmate Plato is frightened by the presentation, but Jim comforts him in a fatherly sense. His strength of character is quickly put to the test, as a gang of seniors provoke him into a knife fight. Despite winning, he agrees to a Chickie run in a further initiation of the new stag into the herd. After agreeing to take part, he asks his friend what Chickie run means, revealing his vulnerable side, beneath the tough façade. It is also perhaps a subtle dig at the ever-changing jargon of teenagers and further bid to connect with younger …show more content…
Despite repeatedly pleas, Jim never gets a real answer when he asks his father, What do you do when you have to be a man? His emasculated fathers hopeless role model turns farcical when Jim returns from the cliff tragedy to find him wearing a frilly apron and picking up spilled food for fear his wife will see it. Jim confesses that he knew the inherent dangers he faced, but had to race. They called me chicken. I had to go. If I didnt Id never be able to face those kids again, he says.
As art imitates life, the story paralleled part of a new wave of films, which rebelled against the nostalgic pre-war idealism. Since the arrival of television, the average age of moviegoers had fallen significantly. The younger crowd craved plots and characters with which they could identify. Already attuned to the rebellious messages of another revolutionary social tidal wave, rock and roll, patrons sought the same theme on the big screen. The icon of this new cinema was the
The Stark family, whove recently migrated to suburban Los Angeles, are seeking a fresh start and rehabilitation of their delinquent teenage son. Their aspirations echo the universal theme of yearning for acceptance. Even the family name is metaphor for their hollow portrayal of the mythical blissful nuclear family unit. Its not the first time they have tried to stitch the threadbare fabric of urban conformity. Once again, that tattered shroud is shredded by …show more content…
Reflecting on the Earths insignificance in the universe he witheringly remarks, Through the infinite reaches of space, the problems of man seem trivial and naïve indeed, and man, existing alone, seems himself an episode of little consequence." Jims schoolmate Plato is frightened by the presentation, but Jim comforts him in a fatherly sense. His strength of character is quickly put to the test, as a gang of seniors provoke him into a knife fight. Despite winning, he agrees to a Chickie run in a further initiation of the new stag into the herd. After agreeing to take part, he asks his friend what Chickie run means, revealing his vulnerable side, beneath the tough façade. It is also perhaps a subtle dig at the ever-changing jargon of teenagers and further bid to connect with younger …show more content…
Despite repeatedly pleas, Jim never gets a real answer when he asks his father, What do you do when you have to be a man? His emasculated fathers hopeless role model turns farcical when Jim returns from the cliff tragedy to find him wearing a frilly apron and picking up spilled food for fear his wife will see it. Jim confesses that he knew the inherent dangers he faced, but had to race. They called me chicken. I had to go. If I didnt Id never be able to face those kids again, he says.
As art imitates life, the story paralleled part of a new wave of films, which rebelled against the nostalgic pre-war idealism. Since the arrival of television, the average age of moviegoers had fallen significantly. The younger crowd craved plots and characters with which they could identify. Already attuned to the rebellious messages of another revolutionary social tidal wave, rock and roll, patrons sought the same theme on the big screen. The icon of this new cinema was the