Character Analysis: Rebel Without A Cause

In Rebel Without a Cause, the main characters, Jim, Judy, and Plato face the troubles of complicated, dysfunctional family lives and the intense social peers of their mid-1950’s, suburban high school. As they deal with existing social pressures and must cope with their family situations, all three of them have different yet similarly formed actions. According to Harry Kuperstein, the mid-1950’s, when Rebel Without a Cause was released, was the height of the juvenile delinquency era up until that time. As post-war, family, and social issues created a perfect storm of non acceptance for adolescent students, characters like Jim, Judy, and Plato resembled the lives of many teenagers during this time. Ultimately, as these differing yet linked issues

combined, the reactions and events occurring in Rebel Without a Cause depict the troublesome life for adolescents seeking approval and acceptance.
Jim, Judy, and Plato’s brash behavior reflects the angsty social structure of high school during the mid 1950’s. In the beginning of Rebel Without a Cause Judy confides in the police officer saying, “He hates me. He hates me. I don’t think. I know. I’m the ugliest thing in the world. He doesn’t like my friends. He calls me a dirty tramp--my own father!” During the 1950’s the majority of high schoolers wanted to improve their appearance and rise socially. Although the main high school social scene has not be revealed yet, Judy’s strong emotions after being degraded and unacknowledged by her father emphasizes the attention-seeking behavior of teenagers. Judy’s quick assumption that her father hates her furthers the notion of a socially unstable mindset of young students.
Later in the film we meet Plato whose father left him when he was a toddler. Additionally, his mother has left him alone on his birthday. He is brought into the station for shooting and killing puppies. According to Ralph England, “Rowdiness in and out of school, abuse of driving privileges, joy-riding thefts, excessive drinking, vandalism and sexual misconduct are among the principal form of disapproved acts seemingly becoming more frequent among teenagers from "better" backgrounds. In the process of acquiring a masculine role-identity middle class boys react against feminine identification of their childhoods by engaging in "masculine protest" behavior of a rough, destructive kind.” As Plato is from a wealthy family, we see that source of his violence stems for a rebellious nature caused by his family life. England states that Plato’s behavior is a result of feminine identification and ultimately the lack of a competent male role model leads him to search for his masculinity through barbarous behavior.
Later in the film while Jim attempts to convince his parents to let him turn himself in Jim says, “Dad, you told me. You said you wanted me to tell the true. You can’t turn it off. You better give me something. You better give me something fast. Dad, answer her. Tell her. Ten years. Dad let me hear you answer her. Dad stand up for me. Stand up!” The script gives a stage direction, “(stops as he sees the emptiness in them).” This scene stands as a pivotal point in the film as Jim requests to see his father demonstrate masculine confidence and poise by taking a stand against his wife. As Frank says nothing and Jim confirms that his father is unable to demonstrate masculinity, Jim is forced to take control and prove his own masculinity by going to the police station and turning himself in. As Jim’s parents use immoral reasoning to try and keep Jim at home, his respect for them completely collapses and a stressful, life-threatening scene ensues. Willard Frick further touches upon the dilemma of Jim as he says, “In many of these primitive societies the youth automatically gained adult status, with all of its prerogatives, as soon as puberty was reached… but it must be remembered that the youth were assiduously prepared for the adult responsibilities that were to be thrust upon them. It has frequently been said that adolescents are neither fish nor fowl, neither child nor adult.” Frick’s statement manifests itself in Jim as he is old enough to understand the law and the immediate solution to the situation. Simultaneously, although Jim’s parent’s suggestion to say nothing is unlawful, it is nevertheless wise when considering Jim’s well-being over his entire lifespan. Jim’s dilemma to take a step towards his perceived adulthood or listen to his parent’s corrupt advice leaves him restless, needing answers, and drastically attempting to alleviate a dangerous situation with more danger. Stated by H.H. Remmers and D.H. Radler, “Probably most parents today would testify from personal experience that the teenagers of our day are having an extraordinarily difficult time of growing up and finding themselves.” Although Jim was going through a disconnect struggle, this was a very common occurrence during the mid 1950’s.
Later in the film Jim, Judy, and Plato pretend to be a family as Jim says to Judy, “Well now then there, we’ll take it for the summer. Oh, well now, would you like to rent it or are you more in the mood to buy?” Judy responds, “You decide Darling, remember our budget.” Jim, Judy, and Plato go on to play in the mansion as though a family. The group’s intimate interaction as they pretend to be a family reveals their need to feel appreciated and loved by their own families. As Judy lacks the approval of her father, Plato lacks intimate affection from either of his parents, and Jim is unable to thoroughly connect with either of his parents, these scene is a direct result of minimal family stimulation. Ralph England speculates on these issues as he says, “The image of sex, love and romance presented by these media is one rejected by most adults whose views have been tempered by the realities of life, but the middle class youngsters of the teenage world, bemused by their burgeoning sex drives in the prolonged and presumably chaste interval between puberty and marriage, and betrayed by their inexperience, are inclined to accept this image as valid.” As 1950’s teenagers idealized romance and passion, the film extends the current media’s idyllic representation of marriage and family to Jim, Judy, and Plato. Ultimately, as the main characters fail to find approval and love at home, their rebellious adventure leads them to find it within each other.
The overall rebelliousness of Jim, Judy, and Plato combined with their interaction with other students emphasizes the approval-seeking atmosphere of adolescent interaction.

In the first scene as Jim is leaving for school Judy’s friends drive up to her recklessly as she is smoking a cigarette. H.H. Remmers and D.H. Radler demonstrate the commonplace of smoking as they say, “38% of kids could be considered delinquent with 25% high school drinking rate and 38% smoking rate.” Additionally Alice Crow says, “The current rise in antisocial acts and authority-defying attitudes among teenagers in challenging the considered judgement of parents, educators, youth leaders, and government officials, as well as of those teenagers who are or may become victims of peer group delinquent behavior.” As we see the wild driving with many kids in the car the film emphasizes the dangerous “authority-defying” acts of the teenagers. Additionally, group delinquent behavior manifests itself as the kids who have attached themselves to the car serve as a metaphor for teenagers being victims and accomplices of poor

behavior.
The acknowledgement of the American flag combined with the uniform clothing of students shows the post-war, approval-seeking nature of adolescent high school students. After all the students stop to observe the raising of the American flag Jim accidently steps on the school insignia and is ignored but a large group of students. This particular group of students is also wearing the same outfit of boots, blue jeans, and leather jackets. The reflection and respect for the American flag demonstrates the post-war patriotism during this time. H.H. Remmers and D.H. Radler capture the full essence of post-war America during this time as they say, “More than half of our teenagers believe that the censorship of books, magazines, newspapers, radio, and television is all right. More than half believe that the Federal Bureau of Investigation and local police should be allowed to use wire tapping at will.” As the police and FBI represent law enforcement and rigidity we see how the socially constructed rules and ideals of teenagers has transformed to a nationalistic, defensive approach. The use of flag respect demonstrates the defensive patriotism for which all of the students choose to adhere to.
The full participation in respect for the country paired with the uniformity of clothing styles demonstrated the current conformism during this time. H.H. Remmers and D.H. Radler said, “Students have extreme sensitivity to the opinions of others with a concomitant conformity. Fewer than half think for themselves and act on their own decisions. Only one fourth admit that they often disagree with the group’s decisions. No more than eighteen percent are willing to say that their tastes are quite different from those of their friends.” The student’s lack of individuality emphasizes the conformist behavior during this time. As adolescents focussed on gaining approval from peers, shared nationalism and clothing were ultimately a simple solution to abide by the social norms.
Buzz’s dangerous behavior serves as an attempt to gain masculine approval from his peers.

In the film, Buzz challenges Jim to knife fight after Buzz and his friends making chicken noises at him. After Jim wins the fight Buzz asks Jim to do a chickie run suggesting that Jim has never participated in such a dangerous, manly event. Later, as Buzz and Jim are about to start racing we see them both have short conversations with Judy and then rub dirt on their hands. Buzz’s hubris serves as a demonstration of masculinity as he attempts to assert his dominance over Jim by comparing him negatively to himself, shows his ruggedness by rubbing dirt on his hands, and subjugates Judy as he demands dirt and shows little emotion. Mabel Elliott speculates on such behavior as she says, “Kids in gangs and social groups play the “bad boy” so they can earn the “good guy” card among their peers.” Buzz’s name calling and acting out serves as a demonstration of power and leadership as he shows off in order to win the approval of his friends. As Jim, another adolescent male eager to prove his machismo, engages his Buzz’s masculinity competition, we acknowledge the approval-seeking nature of teenager boys during his era. Joseph Resnick explains as he says, “The youth has a deeply felt need for approval. Such a requirement is manifested in his appearance of bravery often to the extent of physical injury, in order to convince the adult or other adolescents of his skill.” Buzz’s death serves as a

commentary on the dangerous, wild behavior of adolescents in the mid 1950’s. Ultimately, Rebel Without a Cause serves to depict the troublesome, treacherous lifestyle of the conformist, approval-driven climate during the fad, trend era.