‘East Of Eden: THRs 1955 Review

© Courtesy of The Hollywood Reporter

On March 9, 1955, Warner Bros. Elia Kazan's adaptation of East of Eden premiered at the Astor Theater in New York City. The drama, starring James Dean, earned four Oscar nominations at the 28th Academy Awards, including one for co-star Joe Van Fleet. The Hollywood Reporter's first review, "'East of Eden' combines art with box office," reads:

There is no doubt about the artistic merit of this painting. Beautifully and brilliantly directed by Elia Kazan, this film is considered one of the greatest contributions to film literature. It has the potential to be something even more valuable to the exhibitor: a money generator. If this happens, some resources need to be put to good use. But the reward should be worth it.

First, there is the popularity of John Steinbeck's novels, which were in high circulation, especially in the lending library community. Many critics consider it his best, and it is certainly one of his most widely read. Due to its incredible length, Kazan used only a quarter of the film. No doubt each reader has their own opinion as to which is the best thing. Personally, I find the characters of Kate, the assassin and the Chinese maid very interesting. Only a small portion of Kate's disappearance is shown in the film, and the Chinese are never present. However, despite the pessimism and prejudice, I choose to tell the Kazan part of the story as the best play of O'Neill's tragedy and retain the flavor that made Steinbeck's book so valuable. So I think the readers will receive the film with great enthusiasm.

Visitors should be prepared to enjoy the accolades Kazan's liberal press always receives. The reception on the waterfront showed how good business could be. Like that film, the story of East of Eden is aided by a complex epic story with a message that cannot be conveyed on screen and cannot be called controversial.

But the biggest draw at the box office is the debut of a handsome and dynamic young actor named James Dean in the lead role. It's one that tends to appeal to casual moviegoers, whether they like sad stories or not. He is a rare young actor whose talent and witty dialogues that touch on the plight of misunderstood youth can lead young audiences to see him as an icon of his generation. He is the only one I have seen who would be suitable for Romeo. While he may not be the epitome of that genius, he certainly rivals Marlon Brando. It has a completely independent screen function. If this movie gets the attention it deserves, there's no need to waste time giving more fan magazines because it's not trivial, it's the fastest way for youngsters to show their support.

Paul Osborne's screenplay focuses on young Cal Trask's anguish when he learns that his mother, long thought dead, runs the Monterey Sports Club. The tormented son explains why he's "no good" and why his father (Raymond Massey) doesn't like him. Under the tutelage of a kind sheriff (played brilliantly by Burl Ives), the boy tries to make up for his father's loss by cooling the salad. The scene in which the father rejects this gift is one of the most poignant scenes in the theatre. Filled with blind revenge, the rejected boy drags his beloved brother (Richard Davalos) to a brothel to show them what their mother is like. While the desperate brothers go to war, his father suffers a stroke and Cal Track, cut off from his father's love, seems to have joined the Destruction Squad for good. Abra, his brother's fiancee, manages to build a bridge between the wounded father and the repentant son.

All the actors have to give incredible performances as all characters have good and bad which is found in most people. Julie Harris, as Abra, combines girlish naivety with a mysterious, almost breathless virginity and delicacy. Massey, like his father, avoids black and white influences, showing that religion can make a person narrow-minded in some respects and extremely gentle and kind in others. Young Davalos proves in some films that the "good" brother inherited his mother's hidden evil traits. Jo Van Fleet is so believable as the evil mother that I still hope to see the full portrayal of this charming character. Lois Smith is excellent as Kate the club slave and Barbara Baxley as the prostitute nurse who presides over the climax.

All the technical departments combined their skills with Ted McCord's photography to create a unique example of artistic unity, especially the location shots that make the Salinas Valley backdrop an integral part of history. Leonard Rosenman's score, which is universally excellent, is characterized by vivid lyrical themes in passages of young love. - Jack Moffitt, originally published on February 16, 1955.

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