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 <firstname.lastname@example.org>
Julie Harris found James Dean very exciting to work with. "He was always inventing; you never knew what was coming. You had to listen, watch; you had to be there." She found him exciting and highly imaginative and was impressed with the way he studied music with composer Leonard Rosenman and played Bach on his recorder alone in his dressing room. See more »
When Cal is leaving Kate's office, we can hear the doorknob, but in the mirror on the wall we cannot see him. See more »
Staying out again tonight?
What difference does it make? You're here, aren't you? You're the one he wants!
See more »
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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