Yes, in my view Rebel without a Cause is among the few greatest anti-political film in American cinema - I mean "great" in the sense of powerful and influential. Perhaps everyone was so busy taking style (leaning, laconic, mumbling) cues from James Dean, a counterforce that almost but not quite undoes the film's relentless p.o.v. against the idea of the efficacy positions one might take against conformity, against the quietistic politics of a generation of parents, against American assumptions about home life and love. The parents are anti-ideal and in the end, waging psychological (psychoanalytic) war, their anti-idealism must be accepted.
Here are some of my favorite lines - along these lines - from the film:
Judy: "Yes. No. I don't know. He doesn't mean it, but he acts like he does."
Plato: "Nobody can help me." Mrs. Crawford "doesn't believe in psychiatrists," whom Plato calls "head-shrinkers."
Jim about his father: "He always wants to be my pal. If he had the guts to knock mom cold, then she's be happy and she wouldn't bother him."Ray: "Go ahead. Hit the desk. You'll feel better ... It's easier sometimes than talking to your folks."
Frank Stark: "Well, you just get it off your chest, son." Jim: "That's not the point!" Frank: "You can't be idealistic all your life, son."
The scientist: "The universe will be little moved by our demise. We will disappear, destroyed as we began in a burst of gas and fire. In all the immensity of the gallaxy and beyond the earth will not be missed. The problems of man seem trivial and naive indeed, and man, existing alone, seems himself a thing of little consequence."
Jim's father, seeing Jim at the landing: "Hi Jim. You thought I was mom."
Judy's father: "It's just the age."
Frank Stark: "I wouldn't make a hasty decision. Nobody can make a snap decision. We've got to consider the pros and cons, make a list, get advice .... Have I ever stopped you from doing anything?"
Plato: "If only you coulda been my dad. We could have breakfast in the morning.
"What about children?" "We don I t encourage them. So noisy." "Nobody talks to children."
Jim, father-like: "He needs me." Judy, mother-like: "He needs you, but so do I, Jim."
The screenplay was written by Stewart Stern. And here's some good "Rebel" gossip.


"I teach horizontally, meaning that while I might begin with a fixed idea of what I'm going to teach that day, I let it drift rhizomatically way off topic, often pulling it back when it gets too far. I rely on non-fixed materials to teach this way; the whole world is at my fingertips. Should I go off on a tangent about John and Rauschenberg and their love relationship as expressed in Rauschenberg's bed, an image of that bed is always a click away. From there, we can head anywhere into the non-fixed universe, be it film, text or sound. And of course, that always takes us elsewhere. As Cage says, 'We are getting nowhere fast.'"
that anyone has yet got the imaginative measure of that terrifying day six years ago. Certainly our Tolstoy has not crawled out of the rubble. The closest we have, Don DeLillo, succeeded as an essayist-journalist ("In the Ruins of the Future: Reflections on Terror and Loss in the Shadow of September,” Harper’s, December 2001) but, to my mind, failed as a novelist ("Falling Man"). One reason, perhaps, is that the remembered emotion was instantly buried under a pile of cultural junk.' - Tod Gitlin in his review of Susan Faludi's The Terror Dream (written for
