Editing in Rebel Without A Cause
This is a text written for Chuck Kleinhans' Experimental Cinema class in 2001. It used to have a different .html but since I lost my hosting, it got deleted, so I'm reposting. I would have expressed a lot quite differently today, but still wanted it up online.
01/17/2001
Editing in Rebel Without A Cause
Rebel
Without a Cause is the story of three teenagers in the 50's. Although the
plot takes place in a time-scale of little bit more than 24 hours, at the
end of the movie we feel like we know everything about them, how they feel
about life, how their pasts were, how their family lives is like, etc. All
have tortured lives; they do not have a happy family life, they do not really
like their friends or do not have any, and they hate life. "Who lives?"
Judy says when she first meets Jim. As it is their story, they are all in
the first scene and in the last one; actually we are told how they changed
in that eventful day.
Jim is the main character. He is the "hero"
of the audience, not only because he has more scenes in the movie but also
because he is the one who makes (or at least tries to make) the right things.
He does not think his father acts like a "father". That is why he is angry
with him and do not want to be "a chicken" like him. Therefore, he is strong,
protective, sincere and smart. For all the other main characters he replaces
"their fathers". I think that is one way of interpreting the movie but it
is a too long discussion to get into.
The editing in Rebel Without a Cause is
perfect but not very innovative. Nicholas Ray does not often break the common
rules of editing as Truffaut did in Jules et Jim. He often follows the conventions
of spatial and temporal relations between shots. The best scenes in the
movie come when he plays with the rhythmic relations, which I will talk
about separately later.
I think his use of cinemascope and mise-en-scene is much more creative than
editing is. Using the cinemascope he shows us not only the characters but
also the picture of the society around them. For example, in the first scene,
while we watch what is happening to Jim, we also see all that is happening
in the police station. That helps Ray to establish what the society is like
while also getting into the psychological depths of the characters. Consequently,
we have the "full picture".
One general thing about the editing is that
it is usually slow when the "kids" are not around and fast when they are.
For example, in the scene where Jim and Judy first meet (in the morning),
while they are talking, the scene is edited very slowly and there are no
unusual angles. However, when the "kids" come with their car, the editing
gets really fast, almost chaotic. Also we see some unusual angles such as
low-shots, which makes the shots look unsteady. That makes the audience
feel the insecurity of our heroes in a chaotic, unstable society.
I will now try to analyze one scene and
one sequence that are edited in an interesting way.
The first one is in my opinion the best
and the most powerful one in the movie: The long discussion between Jim
and his parents. Even the first shot is strange: it is a point-of-view of
Jim looking at his mother in inverse. Then the camera turns as Jim stands
up. I believe it is very affective because it takes the attention of the
audience back into the movie and therefore (in my opinion) announces the
very important scene that is coming. Ray shows that he wants extra attention.
In the same scene, there is a shot where
Jim is next to the window. He makes a long speech to his parents and the
camera stands still for a really long time. It changes the rhythm of the
editing in the movie. That shot is probably the only one that is so long
in Rebel Without a Cause. There is nothing happening in the mise-en-scene
either. However, everything happens (or should happen) in our minds. Nicholas
Ray already gave us enough material to reflect on Jim's psychology and his
life; I believe this is the scene where he wants us to meditate on his characters.
So by pausing for a long time, without editing, without displacing the camera,
he achieves a great effect, maybe the deepest one in the movie: a deep understanding
of the hero by the audience.
Another interesting editing is actually
a very small sequence. It is when we see all the families calling the police
to ask about their children. As I mentioned before, Ray usually does not
break the conventions of spatial and temporal relations between shots in
the movie. However in this sequence, there is no temporal relation (They
cannot be all speaking in the same time.); and no spatial relation (They
are all somewhere else.). First of all, this is a needed sequence to progress
the story. Moreover, it makes us remember a part of the story that we did
not pay attention for about 20 minutes: The parents. Therefore it also broadens
our understanding of what is really happening. More importantly, by editing
one after another, the families and the police officer "Ray" for no apparent
reason Nicholas Ray makes us think again. I think he wants to underline
the parallelism of the parents (and also of the police officer) in the story.
They are all unsuccessful and unable to help the new generation.
Seeing it for the second time in the library
I realized it is one of the great masterpieces of film history.
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