Film Facts:
‘If I had one day when I didn’t have to be all confused and I didn’t have to feel that I was ashamed of everything. If I felt that I belonged someplace. You now?’ (Jim Stark, 1955). When we think of classic cinema there are a number of films which spring to mind, one of the most common is ‘Rebel Without A Cause’ directed by Nicholas Ray, screenplay written by Stewart Stern and cinematography lead by Ernest Haller. The film has become a classic cinematic icon which during its time and well after remains a meaningful story with world-class performances from James Dean (Jim Stark) Natalie Wood (Judy) and Sal Mineo (Plato). The OST was composed by Leonard Rosenman, a composer who wrote a number of scores for classic films. The soundtrack for this film was released in 1955 upon the film’s release, however, in 1997 the music composed for both ‘East Of Eden’ and ‘Rebel Without A Cause’ were combined in a re-release soundtrack as a tribute to Leonard Rosenman. Recorded by John Adams and conducted by the London Sinfonietta, this combined soundtrack is what I have listened to in order to understand the score from this film and I will be referring to this particular tribute soundtrack.
Track Facts:
Composer: Leonard Rosenman
Label: Nonesuch
Award Nominations:
None On Record
Release: July 29, 1997 (Remastered)
The Jam
Leonard Rosenman was a composer who wrote music for film from the mid-50s up until the early 21st century, beginning his career with ‘The Cobweb’, ‘East Of Eden’ and ‘Rebel Without A Cause’. Rosenman captures the sounds of the late 1940s and early 1950s as well as creating some stunning thematic movement.
Rosenman begins the opening theme with somewhat of an overture, instantly setting the mood for the film while Jim Stark drunkenly stumbles to the floor and plays with a child’s toy before the police detain him. The Warner Bros logo appears and Rosenman sweeps us off our feet with a commanding hit on the horns before moving into a swing centered development led by the horns, woodwind and percussion instruments. The opening credits then finish off with the iconic ‘Love Theme’ which is led by the warm and vibrant string sections, a highlight in this score.
Moving into the start of the film we have very little music until Jim Stark and the students reach ‘The Planetarium’ for an explanation of the solar system, where the students prefer talking and cracking jokes during the presentation. The scenery from the Griffith Observatory and The Planetarium alike has deemed the observatory itself as a perpetual movie location particularly after the release of this film. Rosenman gives a mysterious and almost sci-fi feel to this composition, entering with unique scale use on the woodwind instruments while the scene is set for the fight which is about to occur as Jim Stark wanders around the Observatory with the obsessive and peculiar Plato following him. Trills performed by the strings help the scene build as the ‘kids’ and Jim clash in a power struggle for dominance. The entire track remains sparse and free of particular dialogue or direction with subtle and effective use of instrumentation.
In ‘Knife Fight’, Rosenman moves through many different stages, giving depth to the character of Jim Stark and providing a deep tension for viewers. The track begins with a gentle introduction of the woodwind section before moving into a cool and slick jazz theme, led by the tenor saxophone, a typical cool gang styled theme from the 50s. The track then plays with the screen and moves with the knife fight, as Jim and Buzz dodge and dip in an attempt to stab each other. The percussion brings a dramatic and suspenseful energy to the piece as the fight escalates with the snare drum taking a leading role. This score contains core elements of its time in regards to instrumentation and score writing as well as a genuine suspense including tactful crescendos and counter melodies. At times there is so much happening within the score that it becomes quite overwhelming and under appreciated, this may have been a chance for Rosenman to pull back on the reigns of this fast moving score for something more experimental or sublte.
Rosenman writes an absolutely beautiful ‘Love Theme for Jim and Judy, two misunderstood teenagers of the 50s who decide that anywhere else is better than home, and in the process find each other. The track itself only plays for 1:28, however, I believe it is one of the most well written and emotional themes in cinema. The melodic piece performed by the flute followed by the woodwind family provides a soft and soothing platform for the piece, which is supported distantly by the strings, before the roles of these instruments switch. The melodic movement and the harmonic layering in this piece is superb, making for a score which captures the love between the two characters and also the classic love story arch we often see in the 1950s. The majestic tones and harmonic richness designed by Rosenman brings to life a relationship which on screen doesnt have much time to develop, but is deepened by this tremendous score.
Rosenman works the orchestra well as the film begins reaching its climactic point with Jim, Judy and Plato retreating to the abandoned mansion in the hills. ‘The Hunt’ is a track which was composed with clear intent to increase tension and move with the drama on screen as Rosenman designs consistent accented beats, unique trills and dynamic volatility in this fast paced scene. The timpani bellows at the bottom of the orchestra as the strings screech with panic and fear as the ‘kids’ chase Plato around the abandoned mansion. Towards the end of the scene the brass instruments take over, elevating the tension even higher, highlighting how Rosenman was so in tune with the script, using the orchestra in a meaningful way.
BOOM, a clash of the cymbals and a majestic swell from the strings provide the perfect stage for the ‘final act’ if you will. The intervallic relationships and progressions along with the choice of instrumentation provides the final track ‘Plato’s Death/Finale’ with a tense and dramatic ending as Plato runs through the observatory with a gun in his hand, trying to avoid his inevitable capture. The strings take viewers on a journey which aids the visual story as Plato becomes a frantic mess with Jim and Judy following closely behind him trying to save him from his fate.
The track remains free and sparse with the subtle use of instrumentation, allowing the dialogue to work the audience as the film nears its end. Ronsenman brings in thematic developments from scores prior, particularly when the track draws to a close as Plato sadly meets his end. The crash of the cymbals, the dynamic rise and sharp dynamic fall of the orchestra ends the final scene with a sad and challenging tone, accompanying the film’s final scene with great power and energy, as Jim and Judy depart the scene in arms.
Soundtrack Send-Off:
Rosenman’s ‘Rebel Without A Cause’ provides a classic soundtrack which upholds the sounds of the 1950’s and the use of the traditional orchestra, while providing defining themes and classic orchestral movement. The soundtrack in itself is short and lends itself to many bars of dialogue backing and emotional tension, however when Rosenman gets his chance he brings particular scenes in this film to a fantastic height, turning the emotional value up and driving the film forward, a key attribute to Nicholas Rey’s all-time classic film.
Rosenman went on to score many other films but this remains one of his most well known soundtracks throughout his entire career. ‘Rebel Without A Cause’ highlights his keen attention to thematic opportunities which allowed the score to express the visual story on screen and remains a valuable listen as a stand alone soundtrack in itself.
TFMJ Pick Of The Lot: Track #13 – ‘Love Theme’
TFMJ Rating: ★★★★
The Slow Spin: Soundtrack Sessions 