This establishes Plato as the weakest character in the scene, and the gang as being powerful in comparison. Jim's father: Will you hold it Jim? He joins next-door neighbor Judy on her way to school, recognizing her from the night before in the police station. Jim: under his breath : I love you too. For Judy, lipstick has both pleasurable and painful connotations. Miscommunication Communication barriers prevent the various characters in Rebel Without A Cause from understanding each other. The false interpretation of teenage rebellion is justified in this movie. The police officer shoots him, thinking his gun is loaded.
But Kathy is also adrift. Frank thinks if he is a pal to Jim and relates to his son using his own adolescence as a guideline, that everything will be just peachy, which of course does not hold true. Her desire is not something you can bear easily, as if it were a matter of indifference to you. However, the sleeping Plato is soon awakened by the gang members, who have discovered the hiding place. The camera can be an objective third-person observer detached from the action as well as a subjective recorder of the film through distinct point of view shots. He finds refuge in the planetarium, and Jim goes in to get him, talking him outside and surreptitiously taking the bullets from the gun. Both his parents argue together in officer Ray's company, while Jim hums and fidgets on the side.
That afternoon, Jim goes on a field trip with his science class to the Griffith Observatory. And while Gillespie grows to admire Tibbs for his skills as an investigator, his prejudices are too deeply embedded to allow a true kinship between them to flourish. If it did know, it would lose its fascination. As a newcomer to the school, he is warned about stepping on Dawson High School's insignia on the school's steps and eyed suspiciously by many of the students. Security The thematic conflict that Jim must grapple with is the absence of a secure family home life that he so desperately needs to counteract the outside world in which he is vulnerable.
Becoming Overall Story Requirements For the Stark family to be a happy, functional family, Frank must overcome his weaknesses and become a real father to Jim; to be part of a peer group family, one must first become friends with the gang; and so forth. When tragedy occurs at the chickie race between Jim and Buzz, Jim, Judy, and Plato—a misfit Jim has befriended—band together. You have a talent for doing a great deal in a single sentence. Meanwhile, Plato is confronted by the gang and knows they want to kill Jim, because the gang thought he had told the police. He then convinces Plato to come outside and talk with officer Ray, who has arrived at the scene with Jim's parents.
Plato, through his death, has helped these two find each other. Stern 86 Influence Character Journey 2 from Preconscious to Subconscious Frank fails to provide Jim with the parental instincts his son requires. Influence Character Thematic Conflict Worry vs. The movie portrays father figures as problematic which then shape the actions and the characters themselves as the movie progresses. Wood and Dean, like Judy and Jim, were searching for a father who would help initiate them into the symbolic world.
He's on his way to the police station to talk to a sympathetic juvenile officer, but is seen by Buzz's posse. The mother is a big crocodile, and you find yourself in her mouth. Her journey to find a father is fulfilled in his presence. She feels trapped in her small town existence, telling Johnny of her dream that some day a stranger will come into the cafe, order a cup of coffee, and rescue her from this boring life. When that leads to an accident and a death, Jim wants to go to the police but his parents refuse to let him do so. In 1976 he was murdered in Los Angeles, by Lionel Ray Williams, on his way home from the studio. But his father doesn't know, and in one grotesque scene, wears a frilly apron over his business suit while cleaning up spilled food.
Both parts of this scene show that Jim does not fit in with his own family or the kids at school. These middle-class teen-agers have more complex problems. We see three teenagers who are completely victimized by their parents. This creates an addictive sense of self, a sort of desperate and ruthless neediness in which alleviating oneself of the experience of powerlessness becomes a compulsive, driven need that seems beyond volitional control…Split off from the unconscious sense of helplessness and dependence is an unconscious sense of murderous rage. Amidst these factors is the intricate screenplay regarding a rebellious adolescent and his troubled relationships with his family and new found friends. In the dark, wombish atmosphere of the light display, Plato falls to the floor in a fetal position.
Ray was bisexual as was Dean and he was sleeping with both Wood and Mineo while they shot the film. We give you love and affection, don't we? The movie was directed towards the teenagers because of their growing population and use of money for fashion and entertainment. Rebel Without a Cause showcases the coming of age genre perfectly. The Wild One opens with an establishing shot of an open highway, but the screen is soon filled with the image of motorcycles and black-leather-clad bikers. Tell the man why we moved here. Father: You mind if I try? Not only does this draw attention to Judy as one of the central characters, but it also shows her in one of her most confused and frustrated moments. You can trust me, Judy.