In the Salinas Valley, in and around World War I, Cal Trask feels he must compete against overwhelming odds with his brother Aron for the love of their father Adam. Cal is frustrated at ... See full summary »
Brick, an alcoholic ex-football player, drinks his days away and resists the affections of his wife, Maggie. His reunion with his father, Big Daddy, who is dying of cancer, jogs a host of memories and revelations for both father and son.
In the Salinas Valley, in and around World War I, Cal Trask feels he must compete against overwhelming odds with his brother Aron for the love of their father Adam. Cal is frustrated at every turn, from his reaction to the war, to how to get ahead in business and in life, to how to relate to estranged mother. Written by
Ed Stephan <email@example.com>
The film's premiere, at New York's Astor Theater, also served as the first in a long line of benefit events organized to help pay for the purchase and renovation of the newly acquired home of The Actors Studio, which had itself provided arguably the film's three most powerful performances, courtesy of James Dean, Julie Harris, and Jo Van Fleet, as well as strong supporting turns from Lois Smith, Barbara Baxley, and Lonny Chapman (and to whom Warner Brothers prez Jack L. Warner had generously offered the entire proceeds of the New York premiere). The celebrity ushers on hand included Margaret Truman, 'Arlene Francis (I)', Jayne Meadows, Marjorie Steele (aka Mrs. Huntington Hartford), Roberta Peters, Carol Channing, Eva Marie Saint, and... oh yeah, Marilyn Monroe. Moreover, the event's organizer, Morton Gottlieb, worried that patrons would balk at the hefty fee charged for just a movie, organized a lavish post-screening party featuring free entertainment, including Channing, accompanied by 'Jule Styne', singing "Diamonds Are a Girl's Best Friend" (Gottlieb having failed in his attempt to persuade Miss Monroe to reprise her hit from 1953's Gentlemen Prefer Blondes (1953)), composer 'Harold Arlen (I)' performing a piano medley, a song composed for the occasion, performed by its authors, Howard Dietz and Arthur Schwartz, and, last but hardly least, a young and still little known Sammy Davis Jr. (less than four months after the near-fatal auto accident which had cost him his left eye, and more than one year before he'd make his official Broadway debut in "Mr. Wonderful"), here making his Big Apple downtown debut and bringing down the house in the process. See more »
Early in the movie after Cal rides the train to Salina, you can see a modern day automobile in the upper right of the scene showing the view of a field. See more »
It's gonna work because it's got to work and it's got to work because I said so
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Cards during opening credits: In northern California, the Santa Lucia Mountains, dark and brooding, stand like a wall between the peaceful agricultural town of Salinas and the rough and tumble fishing port of Monterey, fifteen miles away. AND "1917 Monterey, just outside the city limits" See more »
Elia Kazan deserved his recent honorary Oscar, no matter what political mistakes he may have made. He deserved it because he is one of the supreme artists of the cinema. His ability to draw superb performances from his actors, is coupled with an astonishing ability to depict these emotional states visually, through the use of camera angles, lighting and symbols. "East of Eden" must be seen in the widescreen format to truly appreciate its visual style. It is arresting, sometimes beautiful and always powerful.
Then there are the performances. James Dean's heartbreaking realization of Cal, consumed by jealousy; Jo Van Fleet's magnificent portrayal of his mother; Richard Davalos (why didn't we see more of him on the screen after this film?) innocent, virginal, doomed; Raymond Massey who has never been better in a multi-layered performance; Burl Ives' commanding police chief - and, as usual in a Kazan film, even the smallest part is played to perfection (who'll forget the girl in the brothel or the nurse at the end?). After seeing the film a few times I really appreciate the performance of Julie Harris too. I once thought her a little too mature for the role - but now I see how her reactions to the events really enhance the emotional impact of those events. Kazan allows her to be in frame during some of the most crucial encounters between Cal and his father - and her face tells a million stories. This is a true "supporting" performance - her performance helping Dean realize Cal. Brava Julie!
I'm a lot older now than when I first saw this film - but I still relate so strongly to the communication breakdown and the need for love between father and son. The improvement of my own relationship with my father makes me see the film differently but with no less emotion. Like all masterpieces this film does not date, we just see it differently as we age. This is undoubtedly one of my top five films. How about a theatrical revival? I have never seen it in a cinema. Remember see it in widescreen - not pan and scan.
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