Of all three films featured in Warner's new James Dean box set, Elia Kazan's "East Of Eden" (1955) is probably the most anticipated, and for good reason. For in its brilliant pacing, its strong characterizations and its intensity and honesty, it remains one of a handful of 50s films that consistently holds up under even the most hardened scrutiny of today's cynical film critic. Long precluded from general release, because of a rights issue, this film based on John Steinbeck's classic literary masterwork of paradise lost, takes place in Salinas Valley, in and around World War I. James Dean is ideally cast as Cal Trask, a brash young man of conviction who feels he is being forced to compete for fatherly nepotism against his brother Aron (Richard Davalos). The boy's father, lettuce farmer, Adam (Raymond Massey) to be sure, favors Aron. Hence, around every corner, in every venture or endeavor that Cal undertakes, he is frustrated and ultimately defeated.
Eventually the two brothers grow in conflict over Abra (Julie Harris) a fine young flower of a girl who at first takes a shine to Aron but slowly begins to appreciate the finer character in Cal. This Cain and Abel-ish tale slowly unravels to its tragic end, but in such a swell of emotion and longing, that the viewer is quite suddenly astonished to recognize the long absence in our own character driven dramas that current cinema culture seems to have completely forgotten about. In their cameos as kept women of a brothel Anne and Kate the latter being Cal's mother - Jo Van Fleet and Lois Smith absolutely tear one's heart out with their subtle and poignant performances. Kazan, who was soon to be labeled a communist by HUAC then exonerated for naming names, but blacklisted by his own kind in Hollywood, very clearly has a handle on what makes Steinbeck's novel tick. He fills the vast expanses of Cinemascope with subtle nuances that make the fish-eye process seem intimate and sleek, and he imbues the overriding narrative with a particularly touching sense of lost love and looming tragedy that works so well, one almost forgets this is a movie.
Of all three films included in the James Dean box set, this is the one that looks the worst on DVD. Having said that, the results are not all together terrible. Though the palette of color is rather faded in comparison to the other two films reviewed (Rebel Without A Cause, and , Giant) alone it is quite adequate for a film of this vintage. Flesh tones are slightly pasty. Blacks are generally more deep brown or gray than black. Whites are rarely clean. There is a considerable amount of film grain during scene transitions, as is in keeping with early Cinemascope productions. The anamorphically enhanced DVD is otherwise par for the course. The audio is 5.1 and exhibits a dated, but accurate characteristic. Extras include a biography and an intense making of documentary, as well as audio commentary and theatrical trailer. Overall, nicely put together from the good people over at Warner and so right to have this film back where it belongs amongst the all time great works of art in American cinema.
Eventually the two brothers grow in conflict over Abra (Julie Harris) a fine young flower of a girl who at first takes a shine to Aron but slowly begins to appreciate the finer character in Cal. This Cain and Abel-ish tale slowly unravels to its tragic end, but in such a swell of emotion and longing, that the viewer is quite suddenly astonished to recognize the long absence in our own character driven dramas that current cinema culture seems to have completely forgotten about. In their cameos as kept women of a brothel Anne and Kate the latter being Cal's mother - Jo Van Fleet and Lois Smith absolutely tear one's heart out with their subtle and poignant performances. Kazan, who was soon to be labeled a communist by HUAC then exonerated for naming names, but blacklisted by his own kind in Hollywood, very clearly has a handle on what makes Steinbeck's novel tick. He fills the vast expanses of Cinemascope with subtle nuances that make the fish-eye process seem intimate and sleek, and he imbues the overriding narrative with a particularly touching sense of lost love and looming tragedy that works so well, one almost forgets this is a movie.
Of all three films included in the James Dean box set, this is the one that looks the worst on DVD. Having said that, the results are not all together terrible. Though the palette of color is rather faded in comparison to the other two films reviewed (Rebel Without A Cause, and , Giant) alone it is quite adequate for a film of this vintage. Flesh tones are slightly pasty. Blacks are generally more deep brown or gray than black. Whites are rarely clean. There is a considerable amount of film grain during scene transitions, as is in keeping with early Cinemascope productions. The anamorphically enhanced DVD is otherwise par for the course. The audio is 5.1 and exhibits a dated, but accurate characteristic. Extras include a biography and an intense making of documentary, as well as audio commentary and theatrical trailer. Overall, nicely put together from the good people over at Warner and so right to have this film back where it belongs amongst the all time great works of art in American cinema.