So the worst part about Festivids
Feb. 7th, 2011 08:13 am![[personal profile]](http://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
giandujakissIs that while you're making your vid and you're deep within your source, you have all these thoughts but you can't post them because that would give it away.
I dutifully held my tongue earlier, and now I can finally say what I wanted to say at the time.
Really, really, really tl;dr below the cuts.
Young Americans (vid link)
Young Americans lasted eight episodes in the summer of 2000 - nine if you count the unaired pilot - and, sadly, has never been released on DVD. It was a teen drama and vague Dawson's Creek spinoff that took place at the boys' half of a New England boarding school. There is much romance and angst associated with the rich/poor divide between the students and the town residents. In particular, one of the boys (Scout) falls in love with a local girl (Bella) who works at the garage, only to discover that she may be his half-sister. Bella, as it turns out, may have been the product of a brief fling that his father had when he was a student at the same school sixteen years earlier.
But in addition to the whole "maybe incest" storyline, and the ongoing rich-poor storylines, there's a really interesting ongoing issue of gender.
Examples of gender divides and genderbending appear throughout the show. Much of the action centers around the crew team - which is all-male - while the girls are designated onlookers. The crew coach/English teacher - (who I hate, incidentally, with a fiery passion) - tells the students that true writing genius comes not from the head (pointing to his head) or the heart (pointing to his heart) but the penis (clutching his crotch). Which I can only assume means he thinks women can't write.
Bella works in her father's garage, and is almost always shown doing mechanical things with cars, frequently stained by grease. Meanwhile, the boys are photographed to be almost androgynous. They are extremely baby-faced and soft-cheeked, with huge eyes, and deep red lips and cheeks. There's also homoerotic bonding behavior (moreso in the unaired pilot than in the aired one, so I cheated and stole some scenes from that for the vid). Boys, not girls, end up in a huge pillow fight, for example, and there's even a scene where a boy borrows a girl's jacket and wears it for most of the episode.
And at the center of all of this is the Jake-Hamilton romance.
Hamilton is a student at the school who thinks he might be falling in gay love with his best friend, Jake. Except that as we the viewers know, Jake isn't a boy - Jake is a girl pretending to be a boy for reasons that ... make no sense at all.
The show is particularly noteworthy because Hamilton is played by a baby Ian Somerhalder, and Jake is played by Katherine Moennig. Together, particularly when she's in boy clothes, they are both adorable and insanely hot.
Even though textually, we're told (essentially in passing) that Jake's charade is intended as some sort of weird revenge on her uninvolved mother, the reality is, Jake's disguise makes absolutely no sense even within the context of the show unless you believe that Jake is transgender, or at least not comfortable as being defined either male or female. The show communicates very clearly that Jake is not merely "dressing up" in boy's clothes - she is obviously more comfortable behaving like a boy, physically, and in the episode where her mother shows up and she scrambles to conceal her dual-identity, she explicitly treats girl-clothes as though she's in drag.
We don't get to know Hamilton nearly as well as we know Jake, but his whole struggle with believing he might be gay is actually quite charming - because he's clearly uncomfortable with the idea, but at the same time, he's trying to adjust. There's a marvelous scene where he says that he thinks Jake is gay, and that he's bothered by that - but he's trying not to be.
The other really adorable aspect of the Jake/Hamilton romance is a fangirl/yenta character who appears in a couple of episodes. She has a crush on Jake, and a semi-crush on Hamilton, but then figures they're in love with each other and keeps urging them to get together. I swear, if the show had lasted longer, she'd have been writing RPF about them.
Anyhoo, I do recommend the show if only for this storyline. Both Somerhalder and Moennig light up the screen with their chemistry, and Moennig in particular is fantastic as Jake - and it's amusing to me that she comes off as more mature, and more centered, than any other character on the show (including the adults).
Young Sherlock Holmes (vid link)
Mere words are inadequate to convey how deeply Young Sherlock Holmes obsessed me when I was but a wee pre-teen. I saw it twelve times in the theater (frequently sitting through two or three showings at a stretch), and when it finally was no longer playing, I typed up the script from memory. I made up elaborate fantasies about it in my head, and I was desperately, head-over-heels in love with its star, Nicholas Rowe. My obsession was, I recognize today, extremely fannish, but at the time I didn't know from fandom and there wasn't an internet, so I just endured the pain of my love in silence. And devoured all the ACD stories, of course.
So when Waldo's original vidder defaulted, I jumped at the chance to exercise my modly right of first refusal and claim the pinch hit.
Unfortunately, the problem was that I'm not a pre-teen anymore, and I can now recognize the extreme racism that went over my head 25 years (!) ago.
The premise of the movie is a standard angry-brown-person-takes-revenge-on-whit
The movie is filled with "exotic" scenes of the Egyptian death cult that has been organized in London, white actors in psuedo-Egyptian garb looking grotesque and scary, etc. And despite the fact that the villains do have a real grievance - the destruction of their village and the death of their kin - they are never treated sympathetically, and we're induced to have great affection for at least one of the original Englishmen who caused the massacre. The movie never even shows us the massacre; instead, it's just recited in monologue.
(Sidebar: It was only as I vidded the movie that I realized that there probably wasn't much of a budget, or at least, what budget existed was blown on CGI. We never got Egypt in flashbacks even though it would have been natural to do so, we saw the same London streets over and over without much focus on scenery, etc).
So the big challenge for me was to vid it without reinforcing the racism, and the entire structure of the vid was built around that goal. And this is why I ended up using five betas - more than for any other vid I've made except Origin Stories.
The idea was that I wanted to try to minimize use of the pseudo-Egyptian scenery and costumes, and I also figured that it would help if I tried to put the Orientalism of the movie in a larger context of extraordinary exaggeration, where at least it wouldn't come off as a representation of reality.
In fact, my actual idea in my head - although I don't think it communicates very well - is that almost everything starting from Watson's hallucinations in the second chorus are hallucinations. I figured that the song itself - Senses Working Overtime - suggests a drug-induced state, especially as it becomes increasingly loud and builds to its climax. The Homes 'verse is canonically full of recreational drug use, and while that element is missing from Young Sherlock Holmes, the villains' choice of murder weapon also depends on drugs. I figured that if the Orientalism was portrayed as merely part of Holmes's drug-induced hallucination, that would at least mute some of the problems. So the latter half of the vid has brighter colors and a fuzzier look to it, which is about as far as my technical skills could take me.
Anyway, in the final product, I doubt I was able to really convey that particular idea, although the increasingly-cracked-out structure seems to have come across.
The song was also useful because it kept referring to "guilty ones" and "innocent ones," which enabled me to link the white Englishmen who caused the massacre with guilt. I'd have loved to have been able to link the Egyptians with "innocent," but there just wasn't the footage for it.
So, I guess people may differ on how successful I was at muting the movie's inherent racism, but this was how I chose to make the attempt. I realize that an alternative would have been to try to openly call attention to the racism and critique it, but I don't think I would have felt comfortable doing that for Festivids, and given the limited nature of the footage I think that sort of project would work better in a multifandom context.
Rebel Without a Cause (vid link)
The thing about this movie is, I can't help but read it with modern and adult eyes - which means my perceptions of it are almost certainly extremely different than what was intended in 1955, when things like the "chicky run" scene were shockingly new.
And the thing that's so striking about the movie when you come to it with modern eyes is how incredibly young James Dean seems. Because the title of the movie - Rebel Without a Cause - is incredibly apt. He has no cause; he has no complaint. He lives a privileged, middle class life. His parents have real flaws, absolutely, but they are not genuinely abusive in any way that we see onscreen, and in any event, his angst is far, far out of proportion to their sins. He spends huge portions of the movie sighing and flopping moodily about and tossing and turning with the force of his pain - and the only actual source of that pain is his own adolescence.
Dean's chief complaint about his parents is that his father is dominated by his harpy of a mother. He laments that his dad should just "pop her one" and put her in her place. Obviously, I refuse to accept that as a valid grievance, but he is correct that his parents are dysfunctional. His father refuses to provide any sort of advice or guidance even when Dean begs for it; his mother seems to be more concerned with propriety and appearances than the fact that her son is obviously in a lot of emotional pain. But they also do truly care about him; it's Dean's own immaturity that causes him to focus on, say, the fact that his father puts on an apron to clean up a spill than to focus on the real problems in the household. (Once again, I'm talking from a modern perspective: my understanding is that to 1950s viewers, the apron was a shocking display of emasculation). So in the vid, at least in my head, I was trying to convey that it was Dean's problem - not his father's - that Dean was so disturbed by the apron.
Various scenes that may have seemed tough when they were made in 1955 are almost comic today. Dean very seriously, very solemnly explains that it's absolutely necessary that he engage in pointless, self-destructive behavior to avoid the dreaded, life-ending label of "chicken." (A plot point that is, of course, mercilessly mocked in the Back to the Future series.) Before going out for his tough-guy drag race off a cliff, Dean pauses to engage in the very defiant, very manly behavior of cutting himself a piece of cake left over from dinner to eat on the way. And in one scene, Dean very rebelliously, very moodily drinks himself some milk directly from the bottle out of the refrigerator. Not alcohol - milk. I honestly have no idea how that scene was supposed to be perceived at the time - was it supposed to be shocking that he didn't pour it in a glass first? But today it's endearingly innocent and harmless.
Dean's friends, on the other hand, have much more real troubles. Plato's parents have largely abandoned him to be raised by his housekeeper, and on top of that, he's dealing with the fact that he's gay. (For anyone who doesn't know the movie, Plato's sexual orientation isn't explicit, but it's clear - the shot of the Alan Ladd photo in his locker is classically interpreted as a sign of his sexual orientation, and it's well-known that Sal Mineo was directed to gaze longingly at Dean's character. I saw an article that said originally there was even a plan for a kiss between Dean and Mineo, but I'm not sure I believe a Hollywood director was willing to go that far in 1955). Meanwhile, Judy's father has become distant and emotionally abusive, because - as we the viewer can see, but she can't - he's sexually attracted to her.
One interesting visual theme I noticed while making the vid is that in the grammar of the film, no good comes of having a light shine on you. Before the fatal drag race, Buzz turns a headlight on Dean and then the headlights of all the cars shine on Judy. The bullies shine a flashlight on Plato before attacking him, and, of course, at the end, it's the police lights that drive Plato into the panic that results in his death. I made some effort to capture that in the vid, with the idea that a spotlight is a metaphor for impending adult responsibilities, along with the moment where Dean is literally placed "on the spot" - a metal seal carved into the ground - on his first day of school.
And, that's what I wanted to say weeks/months ago.
I feel better now.
I dutifully held my tongue earlier, and now I can finally say what I wanted to say at the time.
Really, really, really tl;dr below the cuts.
Young Americans (vid link)
Young Americans lasted eight episodes in the summer of 2000 - nine if you count the unaired pilot - and, sadly, has never been released on DVD. It was a teen drama and vague Dawson's Creek spinoff that took place at the boys' half of a New England boarding school. There is much romance and angst associated with the rich/poor divide between the students and the town residents. In particular, one of the boys (Scout) falls in love with a local girl (Bella) who works at the garage, only to discover that she may be his half-sister. Bella, as it turns out, may have been the product of a brief fling that his father had when he was a student at the same school sixteen years earlier.
But in addition to the whole "maybe incest" storyline, and the ongoing rich-poor storylines, there's a really interesting ongoing issue of gender.
Examples of gender divides and genderbending appear throughout the show. Much of the action centers around the crew team - which is all-male - while the girls are designated onlookers. The crew coach/English teacher - (who I hate, incidentally, with a fiery passion) - tells the students that true writing genius comes not from the head (pointing to his head) or the heart (pointing to his heart) but the penis (clutching his crotch). Which I can only assume means he thinks women can't write.
Bella works in her father's garage, and is almost always shown doing mechanical things with cars, frequently stained by grease. Meanwhile, the boys are photographed to be almost androgynous. They are extremely baby-faced and soft-cheeked, with huge eyes, and deep red lips and cheeks. There's also homoerotic bonding behavior (moreso in the unaired pilot than in the aired one, so I cheated and stole some scenes from that for the vid). Boys, not girls, end up in a huge pillow fight, for example, and there's even a scene where a boy borrows a girl's jacket and wears it for most of the episode.
And at the center of all of this is the Jake-Hamilton romance.
Hamilton is a student at the school who thinks he might be falling in gay love with his best friend, Jake. Except that as we the viewers know, Jake isn't a boy - Jake is a girl pretending to be a boy for reasons that ... make no sense at all.
The show is particularly noteworthy because Hamilton is played by a baby Ian Somerhalder, and Jake is played by Katherine Moennig. Together, particularly when she's in boy clothes, they are both adorable and insanely hot.
Even though textually, we're told (essentially in passing) that Jake's charade is intended as some sort of weird revenge on her uninvolved mother, the reality is, Jake's disguise makes absolutely no sense even within the context of the show unless you believe that Jake is transgender, or at least not comfortable as being defined either male or female. The show communicates very clearly that Jake is not merely "dressing up" in boy's clothes - she is obviously more comfortable behaving like a boy, physically, and in the episode where her mother shows up and she scrambles to conceal her dual-identity, she explicitly treats girl-clothes as though she's in drag.
We don't get to know Hamilton nearly as well as we know Jake, but his whole struggle with believing he might be gay is actually quite charming - because he's clearly uncomfortable with the idea, but at the same time, he's trying to adjust. There's a marvelous scene where he says that he thinks Jake is gay, and that he's bothered by that - but he's trying not to be.
The other really adorable aspect of the Jake/Hamilton romance is a fangirl/yenta character who appears in a couple of episodes. She has a crush on Jake, and a semi-crush on Hamilton, but then figures they're in love with each other and keeps urging them to get together. I swear, if the show had lasted longer, she'd have been writing RPF about them.
Anyhoo, I do recommend the show if only for this storyline. Both Somerhalder and Moennig light up the screen with their chemistry, and Moennig in particular is fantastic as Jake - and it's amusing to me that she comes off as more mature, and more centered, than any other character on the show (including the adults).
Young Sherlock Holmes (vid link)
Mere words are inadequate to convey how deeply Young Sherlock Holmes obsessed me when I was but a wee pre-teen. I saw it twelve times in the theater (frequently sitting through two or three showings at a stretch), and when it finally was no longer playing, I typed up the script from memory. I made up elaborate fantasies about it in my head, and I was desperately, head-over-heels in love with its star, Nicholas Rowe. My obsession was, I recognize today, extremely fannish, but at the time I didn't know from fandom and there wasn't an internet, so I just endured the pain of my love in silence. And devoured all the ACD stories, of course.
So when Waldo's original vidder defaulted, I jumped at the chance to exercise my modly right of first refusal and claim the pinch hit.
Unfortunately, the problem was that I'm not a pre-teen anymore, and I can now recognize the extreme racism that went over my head 25 years (!) ago.
The premise of the movie is a standard angry-brown-person-takes-revenge-on-whit
The movie is filled with "exotic" scenes of the Egyptian death cult that has been organized in London, white actors in psuedo-Egyptian garb looking grotesque and scary, etc. And despite the fact that the villains do have a real grievance - the destruction of their village and the death of their kin - they are never treated sympathetically, and we're induced to have great affection for at least one of the original Englishmen who caused the massacre. The movie never even shows us the massacre; instead, it's just recited in monologue.
(Sidebar: It was only as I vidded the movie that I realized that there probably wasn't much of a budget, or at least, what budget existed was blown on CGI. We never got Egypt in flashbacks even though it would have been natural to do so, we saw the same London streets over and over without much focus on scenery, etc).
So the big challenge for me was to vid it without reinforcing the racism, and the entire structure of the vid was built around that goal. And this is why I ended up using five betas - more than for any other vid I've made except Origin Stories.
The idea was that I wanted to try to minimize use of the pseudo-Egyptian scenery and costumes, and I also figured that it would help if I tried to put the Orientalism of the movie in a larger context of extraordinary exaggeration, where at least it wouldn't come off as a representation of reality.
In fact, my actual idea in my head - although I don't think it communicates very well - is that almost everything starting from Watson's hallucinations in the second chorus are hallucinations. I figured that the song itself - Senses Working Overtime - suggests a drug-induced state, especially as it becomes increasingly loud and builds to its climax. The Homes 'verse is canonically full of recreational drug use, and while that element is missing from Young Sherlock Holmes, the villains' choice of murder weapon also depends on drugs. I figured that if the Orientalism was portrayed as merely part of Holmes's drug-induced hallucination, that would at least mute some of the problems. So the latter half of the vid has brighter colors and a fuzzier look to it, which is about as far as my technical skills could take me.
Anyway, in the final product, I doubt I was able to really convey that particular idea, although the increasingly-cracked-out structure seems to have come across.
The song was also useful because it kept referring to "guilty ones" and "innocent ones," which enabled me to link the white Englishmen who caused the massacre with guilt. I'd have loved to have been able to link the Egyptians with "innocent," but there just wasn't the footage for it.
So, I guess people may differ on how successful I was at muting the movie's inherent racism, but this was how I chose to make the attempt. I realize that an alternative would have been to try to openly call attention to the racism and critique it, but I don't think I would have felt comfortable doing that for Festivids, and given the limited nature of the footage I think that sort of project would work better in a multifandom context.
Rebel Without a Cause (vid link)
The thing about this movie is, I can't help but read it with modern and adult eyes - which means my perceptions of it are almost certainly extremely different than what was intended in 1955, when things like the "chicky run" scene were shockingly new.
And the thing that's so striking about the movie when you come to it with modern eyes is how incredibly young James Dean seems. Because the title of the movie - Rebel Without a Cause - is incredibly apt. He has no cause; he has no complaint. He lives a privileged, middle class life. His parents have real flaws, absolutely, but they are not genuinely abusive in any way that we see onscreen, and in any event, his angst is far, far out of proportion to their sins. He spends huge portions of the movie sighing and flopping moodily about and tossing and turning with the force of his pain - and the only actual source of that pain is his own adolescence.
Dean's chief complaint about his parents is that his father is dominated by his harpy of a mother. He laments that his dad should just "pop her one" and put her in her place. Obviously, I refuse to accept that as a valid grievance, but he is correct that his parents are dysfunctional. His father refuses to provide any sort of advice or guidance even when Dean begs for it; his mother seems to be more concerned with propriety and appearances than the fact that her son is obviously in a lot of emotional pain. But they also do truly care about him; it's Dean's own immaturity that causes him to focus on, say, the fact that his father puts on an apron to clean up a spill than to focus on the real problems in the household. (Once again, I'm talking from a modern perspective: my understanding is that to 1950s viewers, the apron was a shocking display of emasculation). So in the vid, at least in my head, I was trying to convey that it was Dean's problem - not his father's - that Dean was so disturbed by the apron.
Various scenes that may have seemed tough when they were made in 1955 are almost comic today. Dean very seriously, very solemnly explains that it's absolutely necessary that he engage in pointless, self-destructive behavior to avoid the dreaded, life-ending label of "chicken." (A plot point that is, of course, mercilessly mocked in the Back to the Future series.) Before going out for his tough-guy drag race off a cliff, Dean pauses to engage in the very defiant, very manly behavior of cutting himself a piece of cake left over from dinner to eat on the way. And in one scene, Dean very rebelliously, very moodily drinks himself some milk directly from the bottle out of the refrigerator. Not alcohol - milk. I honestly have no idea how that scene was supposed to be perceived at the time - was it supposed to be shocking that he didn't pour it in a glass first? But today it's endearingly innocent and harmless.
Dean's friends, on the other hand, have much more real troubles. Plato's parents have largely abandoned him to be raised by his housekeeper, and on top of that, he's dealing with the fact that he's gay. (For anyone who doesn't know the movie, Plato's sexual orientation isn't explicit, but it's clear - the shot of the Alan Ladd photo in his locker is classically interpreted as a sign of his sexual orientation, and it's well-known that Sal Mineo was directed to gaze longingly at Dean's character. I saw an article that said originally there was even a plan for a kiss between Dean and Mineo, but I'm not sure I believe a Hollywood director was willing to go that far in 1955). Meanwhile, Judy's father has become distant and emotionally abusive, because - as we the viewer can see, but she can't - he's sexually attracted to her.
One interesting visual theme I noticed while making the vid is that in the grammar of the film, no good comes of having a light shine on you. Before the fatal drag race, Buzz turns a headlight on Dean and then the headlights of all the cars shine on Judy. The bullies shine a flashlight on Plato before attacking him, and, of course, at the end, it's the police lights that drive Plato into the panic that results in his death. I made some effort to capture that in the vid, with the idea that a spotlight is a metaphor for impending adult responsibilities, along with the moment where Dean is literally placed "on the spot" - a metal seal carved into the ground - on his first day of school.
And, that's what I wanted to say weeks/months ago.
I feel better now.
no subject
Date: 2011-02-07 01:20 pm (UTC)no subject
Date: 2011-02-07 01:50 pm (UTC)no subject
Date: 2011-02-07 02:36 pm (UTC)no subject
Date: 2011-02-07 02:44 pm (UTC)no subject
Date: 2011-02-07 08:01 pm (UTC)at any rate, the longer, including-solo-scenes compilations are by Pirateprinsess on youtube.
no subject
Date: 2011-02-07 09:39 pm (UTC)no subject
Date: 2011-02-07 10:58 pm (UTC)no subject
Date: 2011-02-07 10:58 pm (UTC)no subject
Date: 2011-02-07 04:04 pm (UTC)no subject
Date: 2011-02-07 04:27 pm (UTC)As for James Dean's character, I have more sympathy for him when I think of him as just very, very young - with a general sense of "what does it all mean" and real issues with his parents, but he just doesn't really know how to interpret them.
What's so fascinating to me about his gender policing is that James Dean was famous as being part of a new generation of male movie stars who were more fluid, gender and sexuality-wise, than the previous crop. And Dean the actor apparently actively encouraged Mineo to play up the gay crush angle, at least according to some accounts I've read. One way to take his character's gender policing is to imagine it as being connected to the character's own anxieties about his own gender nonconformity.
no subject
Date: 2011-02-07 05:14 pm (UTC)I feel the need to report that legions and legions of film critics have looked at the milk-drinking scene and decided that it's about sex, or at the very least about sensual experience. To put alcohol into that scene would be a signal that he was dulling his senses; but it's about the intensity and directness of the physical experience. Why milk? You'll have to ask a Freudian.
no subject
Date: 2011-02-07 05:19 pm (UTC)More skeevy is that Natalie Wood was sleeping with the director. Eeeeewwww. And also Mineo? Not sure.
Didn't know about the critics, but outside the Freudian interpretation, milk is just ... not a sensual experience. It's bland. If you want a jolt, to feel just to feel, that's not what you're going for. And given the context - teen coming home - it seems especially pedestrian. So I have trouble with that interpretation.
no subject
Date: 2011-02-07 07:45 pm (UTC)no subject
Date: 2011-02-07 07:51 pm (UTC)Also, the last time we saw him in the house, he was snagging cake (if I'm remembering the timeline correctly). If anything, the milk is a reference to the cake - he ate the cake, now he's washing it down. And it's the youngest, most innocent thing in the world for him to be doing.
no subject
Date: 2011-02-07 11:00 pm (UTC)no subject
Date: 2011-02-07 11:03 pm (UTC)I tend to think that since milk is so strongly associated with childhood - even the Freudian interpretation would agree - and since the movie is all about the border between childhood and adulthood, if the milk was meant as a symbol of something, it really was childhood - Dean trying to get his childhood back after the chicky run, or ironically referencing it, or something.
no subject
Date: 2011-02-08 12:43 am (UTC)It's also, I mean, I was being wry about the Freudian thing: the 50s had a lot of overtly Freudian pop culture.
(In re age difference, FNL's Matt Saracen and Julie Coach's Daughter are supposed to be within shouting distance of the same age too, but that doesn't mean I didn't cringe at the idea of a 15 year old girl and a 25 year old man going any further than awkward hand-holding. Sometimes I can ignore it, and I presume actors work pretty hard to ignore it, but sometimes it's hard to ignore!)
no subject
Date: 2011-02-08 12:49 am (UTC)But if you're talking about the theory that Jim was trying to seek out some sort of sensation, then I still don't really see it. The filmmakers weren't limited to the fridge - if they wanted to show that Jim was seeking out sensation, they had an entire household of options. But they chose an option that is almost universally - even in 1955 (see Guys and Dolls) - associated with childhood and innocence, and almost never with sensuality. Even the Freudian view, while obviously sexualized, would still make milk a symbol of infantilization.
So my interpretation would be if there was a deliberate choice involved here, it was to make Jim look younger or at least more conflicted about his in-between status straddling childhood and adulthood (which is the general theme of the movie), rather than sensation-seeking.
no subject
Date: 2011-02-08 02:49 am (UTC)ETA: Also now I've watched the vid and it's beautiful.
no subject
Date: 2011-02-08 06:32 am (UTC)Yeah, that's generally my instinct as well - it's just such an odd scene in the movie because that particular defiant act just seems so very young.
And thank you! I'm really glad you liked the vid!
no subject
Date: 2011-02-08 03:13 am (UTC)I wish I were more vid-literate and able to say exactly what hit me so hard, but I'm not. It just really grabbed me by the solar plexus and spoke to me, and made me want to see the movie at long last.
no subject
Date: 2011-02-08 06:34 am (UTC)As for the movie, you should definitely see it - it's actually a very odd movie but I think the performances of the leads are really something to see.
Although honestly, my favorite James Dean movie is East of Eden, which now I'm having a powerful urge to rewatch.
no subject
Date: 2011-02-08 05:51 pm (UTC)but, having started watching it - how are these boys Fifteen!?!
nevertheless, I want to draw hearts around Jake & Hamilton
no subject
Date: 2011-02-08 05:55 pm (UTC)Glad you liked the vid!
no subject
Date: 2011-02-08 10:32 pm (UTC)