Elia Kazan & James Dean Life imitating art or art imitating life?

Like legion(predicate) different Hollywood not up to(p)s, Kazan (like Malloy) initially resisted efforts to name names. However, also like many other(a) Hollywood notables, Kazan was threatened with the ruination of his career if he testified (a typical story ab appear this situation on movie theatre is The Way We Were). Eventually, Kazan would give in to pressure almost the enigmatical future of his career and name the names of those who he worked with and share an ideology with. However, in his autobiography, he explains that he did so not because of government or career pressures, but, because, like Terry Malloy, he recognized that the boldness for which he was fighting was the dark side:

Kazan's version of events has him resisting initially (like Terry Malloy), and speaking only of himself during his HUAC appearance. When he returned to Hollywood, he found his career remained in jeopardy. Then, according to his autobiography, Kazan has an epiphany and axiom the light. Communism was evil?he'd secretly always felt so?and it was an evil that thrived in darkness. Maybe it wasn't such a elusive thing for a committee like HUAC to try to delineate it into the light. During his second appearance, Kazan informed against flock he'd worked with in the Group battleground?speaking out of conscience, he claimed, in the full-page ads he used to justify himself to readers of the Hollywood trade papers and The freshly York Times. Then Kazan went back to the coast, and over the course of the next ten made some of the best f

If we examine Rebel Without A Cause, we see that James Dean's aver personality and life experiences added power to that film. Someone once express of Alan Ladd that he was a little boy's idea of the hero. In a similar manner, James Dean was a hero among adolescents because as want as there are young people and social boundaries there will always be rebels who go against the grain and push the limits and beyond of those boundaries. In life and on screen Dean was such a persona. Director dear Kazan, Dean's mentor, said of the actor, "Every boy goes through a layover of when he's seventeen or so when he hates his father, hates authority, can't live at bottom the riles?It's a classic case. Dean just never got out of it" (Martinetti 2).

In fact, Dean was still a child when he died at 24 in a car crash. He never got a chance to grow up and Humphrey Bogart remarked about him, "Dean died at just the right time. He remaining behind a legend. If he had lived, he'd never have been able to live up to his publicity" (Martinetti 2). This is probably true of other screen legends who died young and attractive, like Marilyn Monroe, whose image of glamour and finish up appeal would no doubt have been diminished had she lived long enough to become a bloated, wrinkled older cleaning woman whose appearance showed all the signs of drug and alcohol abuse. This is why Dean's genuinely life persona adds so much power to the character reference of Jim Stark in Rebel Without A Cause. The novel is considered the picture example of a ungovernable youth film. The screenplay is based on an actual case study of a delinquent, teenage psychopath. spell a good part of the film's appeal (like Easy rider after it) is based on its romanticized, sympathetic view of rebellious youth, Dean was able to lend such powerful straw man to the role because many viewed him in real life as an alienated, rebellious, rude young man who suffered anguish and frustration from a poorly developed identity. As George Will, a columnist, argued in 19
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