Following on the heels of East of Eden, the Brattle's showing this week is the second in the trilogy of James Dean's acting epics, Rebel Without a Cause*. Originally released shortly after Dean's untimely death four years ago this movie, more than any other, established him as the acting idol and representative of an entire generation.

As Jim Stark, Dean is superb in his portrayal of a teenager with more energy than direction, forced by his family to move from town to town to escape his past. He makes every attempt to adjust to his new environment, but there is an insurmountable obstacle in the form of the local ruling class, a group of unsavory types who just can't wait to become mature, full-grown gangsters and begin practicing the arts early.

On his first day at school, Jim's class pays a visit to a planetarium, which the gang decides to make the scene for a little action. Buzzy, stereotyped black-jacketed levi leader of the mob, goads Jim into a switchblade duel. (Stark has a paranoic aversion to being called "chicken") But merely proving himself in this daytime version of kicks is not enough; society demands more of him.

That night the troops assemble on a bluff for a "chickie run." Jim doesn't see the point of the affair, but Buzzy reassures him. ("You gotta' do somethin', don't you?") Jim loses the race, but Buzzy loses a lot more when he can't get the door of his car open before it rolls over the cliff. Except for his loyal followers who decide to wreak revenge upon Jim, not too many are deeply disturbed by Buzzy's demise.

Meanwhile, Jim Stark has managed to make two friends for his cause, Plato (Sal Mineo) and Judy (Natalie Wood). Plato is the child product of the Age of Analysis with slightly psychopathic tendencies which provide for the movie's fast-moving finish. Natalie Wood provides the love interest.

The acting throughout Rebel is of the highest caliber, and Dean receives a great deal of support from Jim Backus as the pathetic father trying to fulfill his son's image of him. The family scene following the chickie run is a great example of high-pitched acting at its best.

Rebel Without a Cause has all the fatalistic qualities of a Greek drama combined with the twisted and decadent realism of a Tennessee Williams play. The plot of the movie largely depends upon the tragedy of misunderstanding; Jim Stark's parents misunderstand him; the same is true for Judy; Plato tries to forget his parents and adopts Jim as his father-image ("Why couldn't you have been my Dad?"); and, as usual, the police manage to misunderstand everyone.

Director Nicholas Ray, with an able assist from Leonard Roseman who scored the music, maintains the action throughout, pausing for a few distilled doses of damnation directed against society.

For two hours of fine acting, social criticism interwoven with pathos and sentimental memories of adolescence, Rebel Without a Cause is a movie to be seen by everyone. And, even without the mystical appeal of James Dean, there should be those who, out of sheer curiosity will want to see the movie whose title it is the cross of our generation to bear.

*(Giant is the third)--Ed. note.