#Richard Davalos

[the-black-mask]

Biker Couple © Dennis Hopper Trust; courtesy of Fahey/Klein Gallery, Los Angeles, 1961 💿 The Smiths: The Best Of (L.P)

Andy Warhol's FLESH. Joe Dallesandro (L) Louis Walden (R), 1968 💿 The Smiths: The Smiths (L.P)

In The Year Of The Pig, directed by Emile de Antonio. Marine Cpl. Michael Wynn in Da Nang, South Vietnam, September 1967

Michael Wynn speaks

💿 The Smiths: Meat Is Murder (L.P)

Alain Delon in "L'Insoumis" 1964 💿 The Smiths: The Queen Is Dead (L.P)

Rock n Roll Times/Rockers by Juergen Vollmer, Hamburg, Germany 1961

💿 The Smiths: The World Won't Listen (Double L.P)

Birds of Britain John d' Green 'Alexandra Bastedo' (actress, writer) 1967 💿 The Smiths: Rank (live L.P)

Orphée by Jean Cocteau. Jean Marais, 1950

💿 The Smiths: This Charming Man (single)

East Of Eden by Elia Kazan James Dean, Richard Davalos, 1955 💿 The Smiths: Strangeways, Here We Come (L.P)

George O'Mara (Adonis), photographed by Jim French (Colt Studios), from Margaret Walters’ book The Nude Male: A New Perspective, 1978 💿 The Smiths: Hand In Glove (single)

Women In Revolt, by Andy Warhol. Directed by Paul Morrissey. Candy Darling, 1971 💿 The Smiths: Sheila Take A Bow (single)

T H E S M I T H S

album cover stars

[artist-issues]

On the anniversary of James Dean’s crash I would like to list my favorite things about him as an actor:

- I like how he doesn’t watch his costars in the scene unless it’s something his character would do. In most 50s movies it feels like the actors are watching each other, waiting for their turn to talk, knowing the audience isn’t focused on them. But in real life, people don’t always look directly at each other during a whole conversation. In East of Eden James Dean barely looks at either Abra or Aron when he speaks to them, or when they speak to him. But he has this laser-focus on his father’s face, like a dog waiting to be given a treat. It is great.

- I like how he doesn’t talk the same way in every role, even though the mumbly-sullen-teenager thing clearly worked for him in East of Eden. But in A Long Time Till Dawn he sounds like a semi-whiny Jersey kid, or in Dark Dark Hours he sounds like a 50s gangster-wannabe, or even in Rebel Without a Cause he sounds like Cal, but if Cal were friendly and heroic instead of surly and furtive.

- I like how he adds mannerisms into every role he plays so that the character feels real and distinct, and not just another costume on James Dean. Like how Joey chews his lapel whenever he’s feeling angry (it’s gross but he’s deranged) or how Cal hides in his shoulders, or how Jett does that hand-wave thing, or how Fernand (in The Thief) has impeccable posture, or how Jim grabs his head and looks panicked for a split second each of the times his parents start to bicker.

- I like how he says “STAND UP.” in Rebel Without a Cause when he yanks his father off the floor. 

- I like how he turns around and comes back in East of Eden when his mom says, to herself while he leaves, “…you’re a likable kid.” 

- I like how he improvised saying “It doesn’t matter it doesn’t matter it doesn’t matter” to his mother and father in Rebel Without a Cause when they wouldn’t listen to what Jim was trying to tell them, and just kept coming back to the same issue of “did anyone identify you and can we run away from this?”

- I like how he horses around with Plato with his body language in spare moments of screentime in Rebel Without a Cause.

- I really like how he just trails along out of camera in the woods in the background of East of Eden, or straight-up turns his back on the camera and fusses around with windows and doors. Like, in stage-acting, actors are taught to always semi-face the audience, right? So that the audience can see what they’re feeling? And not always, but sometimes, it seemed like 50s actors never turned away from the cameras completely, either. But James Dean fidgets with doorknobs and hides his face from love interest characters and audiences alike in tender moments because it’s not only more realistic, but it usually says even more than facing the camera would, I think.

- I like how he interacts with sets in general. Sometimes I don’t think he’s supposed to, like in Padlocks when he knocks pieces of the set over. But when he punches the dividing wall in the locker room in East of Eden, or climbs up on the windmill in Giant, or even just adjusts the sign his character roughed up in Padlocks, or knocks the building blocks over and just about melts in Dark, Dark Hours, I love that stuff. Feels like he’s trying to make everything feel more real, and it works.

- I like when Abra comes up behind him in East of Eden and he flinches for no apparent reason. 

- I like how he interacts with other characters physically, like tapping Peewee’s glasses in Dark, Dark Hours or teasing Abra with the candy between the tree branches in East of Eden, or apparently keeps forgetting that Peewee is dead in his panic and picking up the corpse, or even just messing with Judy’s headscarf and pretending to steal Plato’s nose in Rebel Without a Cause.

I ESPECIALLY like how his crying face changes depending on which character he’s playing! Like Cal obviously just falls apart with his whole body, but Jim looks more like a young Tom Hanks (or Tom Hanks looks like Jim) trying to pull himself together and be a man, meanwhile Bud does all the crying with his eyebrows.

- I like his volume and inflection for different characters. For example he basically never raises his voice as Fernand or Cal, but Jim explodes in frustration by yelling things like “TEN YEARS.’ Or Joey, who has this scary range of being quiet and almost-meek or childlike and wistful one minute, and then suddenly he’s foaming at the mouth and screaming so you know he’s really unhinged. 

I just really like James Dean, and I think he stands out all the more because he was more often surrounded by actors and actresses who weren’t quite at his same level of investment in every scene. Nowadays the market is sort of swollen with good actors and actresses. 

[streamondemand]

James Dean heads 'East of Eden' on HBO Max

East of Eden (1955), Elia Kazan’s adaptation of the John Steinbeck acclaimed novel (or rather, a small portion of it), is a powerful story of fathers and sons and brothers and the growing power of California’s agriculture industry in the Salinas Valley during World War I. But its legacy ultimately has less to do with Steinbeck than its brooding, restless young leading man. East of Eden made an…

[mauricedelafalaise]

Richard Davalos

[cinevisto32]

Al este del Edén (1955)

[danu2203]

RICHARD DAVALOS

[ad-j]

WATCHLIST 2022: East of Eden

[ulrichgebert]

James Dean wieder einmal als rebellischer, aber immerhin extrem gutaussehender junger Mann in einem ländlichen Familiendrama in Cinemascope. Als unausgelichener Farmerssohn Caleb ist er eifersüchtig auf seinen Bruder Aron, der hat erstens eine reizende Verlobte und zweitens ist ihr frommer alleinerziehender Vater immer total zufrieden mit ihm, während er Caleb vor allem vergibt. Ist auch frustrierend. Fast ein bisschen wie in der Geschichte von Kain und Abel. Die totgeglaubte Mutter leitet ein Bordell im nahegelegenen Küstenort, da hören die Paralellen dann auf.

[moviesandmania]

THE CABINET OF CALIGARI Reviews and free to watch online

The Cabinet of Caligari is a 1962 horror film about a young woman who seeks help at an old mansion after her car breaks down. Once there, however, her problems go from bad worse… The movie was directed by Roger Kay (The Twilight Zone) from a screenplay by Robert Bloch, author of the novel Psycho. The film’s cinematographer was John L. Russell, who also worked on Alfred Hitchcock’s Psycho (1960)…

[bkenber]

'East of Eden' Movie and 4K Review

The following review was written by Ultimate Rabbit correspondent, Tony Farinella. Recently, I have been fortunate enough to see two out of the three films James Dean made in his short but powerful film career: “Rebel Without a Cause” and now “East of Eden.”  Both of them have been released on 4K this year through Warner Brothers Home Entertainment.  “Giant,” the third film in Dean’s career, has…

[movieassholes]

Mother? This is your other son, Aaron. Aaron is everything that's good, Mother. Aaron? Say hello to your mother.

Cal Trask - East of Eden (1955)

[musicandoldmovies]

The Smiths - Strangeways here we come

Cover star Richard Davalos in the movie East of Eden

[duranduratulsa]

Now showing on Stevegoolie Saturday Night...Good Against Evil (1977) on classic DVD 📀! #movie #movies #horror #GoodAgainstEvil #DackRambo #RichardLynch #riprichardlynch #elyssadavalos #KimCattrall #danoherlihy #ripdanoherlihy #natasharyan #70s #dvd #stevegoolie #Svengoolie #METV

[froody]

I don’t know if anyone has ever seen the other screen test for East of Eden, like not the one with Jimmy blatantly flirting with Paul Newman. Insane. I don’t know how they ever casted the movie because James Dean had crazy sexual tension with every male costar he ever had. He and Richard Davalos did a little method acting by pretending to be brothers off screen so maybe that helped readjust their chemistry but I mean goddamn.

[virgogeminiposts]

House Stark

The Starks of Winterfell

Lord Benjen Stark, 50 AC- Lord of Winterfell and Warden of the North

Rickon Stark, 72 AC - Lord Stark's first born child and heir with his late wife, Lady Lysa Locke Gilliane Glover, 80 AC - Rickon Stark's wife Cregan Stark, 97 AC - Rickon Stark's first and only child with this wife

Faceclaims: Hugh Laurie, Richard Armitage, Alexa Davalos & Levi Miller

(pictures taken from pinterest, none mine, rights to the owners/editors.)

[filmnoirfoundation]

Next up for for FNF prez Eddie Muller at the Turner Classic Movies Film Festival today. He'll introduce Elia Kazan's EAST OF EDEN (1955), 11:45 am, TCL Chinese Theatres, House 1.

#TCMFF film notes:

When director Elia Kazan realized Marlon Brando and Montgomery Clift were too old to play the brothers in his adaptation of John Steinbeck’s East of Eden, he went looking for new talent. Boy, did he find it! In his first starring role (and the only one of his major films released during his lifetime), James Dean burns up the screen with inner turmoil. He’s cast as Cal, the tortured Cain to Richard Davalos’s Abel and Raymond Massey’s Adam in coastal California on the eve of World War I. Rejection dominates Dean’s performance as he strives to win his father’s love, finds himself drawn to his brother’s girlfriend (Julie Harris), and discovers his mother (Jo Van Fleet) is running a brothel in a nearby town.

Working with cinematographer Ted McCord, Kazan reflected Cal’s emotional turmoil in his creative use of the widescreen image. This was Kazan’s first film shot in color and CinemaScope, and he frequently tilts the camera to intensify a scene’s emotional impact. He also worked with composer Leonard Rosenman to make the score mirror Cal’s inner life. At the time, many reviewers lauded Kazan’s move into widescreen while complaining that Dean’s performance was just an imitation of early Brando. More recent critics have hailed the film as Kazan’s and Dean’s best. Van Fleet won the Oscar for Best Supporting Actress with her film debut, with additional nominations going to Kazan, Dean, and Paul Osborn’s adapted screenplay.

d. Elia Kazan, 118 minutes, DCP

World premiere restoration courtesy of Warner Bros. Classics

Restored by Warner Bros. in collaboration with the Film Foundation