#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – 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.
Plot: In the Salinas Valley in and around World War I, Cal Trask feels he must compete against overwhelming odds with his brother for the love of their father. Cal is frustrated at every turn, from his reaction to the war, how to get ahead in business and in life, and how to relate to his estranged mother.
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Perhaps the best of the three?
I recently purchased this film, having never seen it before, and feeling somewhat peeved at the fact that it is never shown on TCM. Immediately, I recognized it as one of the best films ever made. The adaptation from the very dense and wonderful Steinbeck novel obviously required much of the relationship between Adam and Charles to be deleted, however I felt the film did not suffer from this at all.
James Dean is a completely different animal than the other actors of his time, and from start to finish in this film, he is spellbinding. The emotional intensity and reality he brings to the film is so convincing it is almost painful to watch at times, especially when he goes to see his mother for the first time and he desperately tries to speak to her as he is being wrenched away. The tone of his voice, his subtle gestures, his utter desperation for love is amazing and completely his own. I once read that Dean did not consider East of Eden to be his best film, but I disagree with him there. I have never seen a film (or an actor) that even came close to matching this one, particularly when viewed from its position in time and the nature of cinema in the 1950s. James Dean put himself ‘out there’ emotionally in such a raw way that the power of that brave acting yet holds the ability to touch the audience with every viewing. I think the film makes a hugely important statement about the human condition that is still valid a half a century later.
“Man has a choice, and it’s a choice that makes him a man”
I haven’t read John Steinbeck’s novel “East of Eden,” but I’m familiar with enough of the author’s work to know that he wasn’t a “glass half- full” kind of man. Steinbeck’s characters appear to persist despite their misery, devoid of hope and comfort, and persevering out of sheer bloody-mindedness. This potentially poses a problem, because Hollywood has traditionally taken the stance that it is optimism, not pessimism, that sells tickets. This clash of sensibilities is seen readily enough in ‘The Grapes of Wrath (1940),’ in which John Ford’s assurance in the hardiness of American families sits at odds with Steinbeck’s stark brand of realism. Nevertheless, Elia Kazan was an ideal candidate to adapt the 1952 novel “East of Eden,” having already dealt with unflinching dramatic themes of family and societal conflict in the films ‘A Streetcar Named Desire (1951)’ and ‘On the Waterfront (1954).’ The pair had collaborated previously, with Steinbeck writing the screenplay for Kazan’s Mexican Revolution biopic ‘Viva Zapata! (1952).’
Whereas ‘A Streetcar Named Desire’ had been a completely stage-bound film, owing to origins on Broadway, ‘East of Eden (1955)’ allowed Kazan to spread his cinematic wings, so to speak. Steinbeck had intended his novel, in part, as a tribute to the Salinas Valley in Northern California, and so location is everything. Cinematographer Ted McCord captures the setting in lush WarnerColor, the fertile green fields consciously opposed to the bleak inner conflict raging inside the heart of the film’s protagonist. Despite being visually impressive, it is – as in all Kazan pictures – the director’s genius for working with actors that really shines through. James Dean, in his major picture debut (and the first of only three lead roles), delivers one of the most heartbreakingly tragic performances I’ve ever seen. His Cal, the Biblical Cain to Richard Davalos’ Abel, has endured a life without love, every misguided bid for his father’s (Raymond Massey) approval met with indifference or remonstration, as though only to cement his self-belief that he is inherently “bad.”
In adapting “East of Eden,” another director might have aimed for sheer scope, winding up with something not unlike ‘Gone with the Wind (1939)’ or ‘Duel in the Sun (1946).’ Instead, Kazan plays his strengths, and it’s a telling sign that the film’s most powerful moments unfold, not in the outside environments that McCord captures so well, but between four walls – inside homes, sheds, and brothels. Dean’s character skulks mousily in the corners, fearful about making eye contact, as his articulate, proper brother Aron makes unconsciously-condescending remarks, perpetuating stereotypes that have been drummed into both since childhood. Only Aron’s sweetheart Abra (Julie Harris) understands Cal’s torment at the hands of his cold, naive family members, but by then it may already be too late to save him. At under two hours, ‘East of Eden’ perhaps doesn’t explore its characters and their motivations as fully as it might have – for example, Aron’s metaphorical “slaying” at his brother’s hand isn’t give enough exposition – but nonetheless stands as a beautiful and astonishingly powerful piece of storytelling.
Original Language en
Runtime 1 hr 58 min (118 min)
Director Elia Kazan
Writer John Steinbeck (novel), Paul Osborn (screen play)
Actors Julie Harris, James Dean, Raymond Massey, Burl Ives
Awards Won 1 Oscar. Another 12 wins & 10 nominations.
Production Company Warner Brothers
Sound Mix Mono (Perspecta Sound encoding) (35 mm optical prints), 4-Track Stereo (35 mm magnetic prints) (RCA Sound Recording)
Aspect Ratio 2.55 : 1
Laboratory WarnerColor (color)
Film Length 3,150 m (Netherlands)
Negative Format 35 mm
Cinematographic Process CinemaScope (anamorphic)
Printed Film Format 35 mm