Il 30 settembre del 1955, a 24 anni, moriva #JamesDean. La sua luce aveva brillato appena più di un anno, il tempo sufficiente a girare tre film memorabili.
Passato e Presente 2025
#Crime #TrueCrime #Delitti #Misteri #Killer #SerialKiller #ColdCase #Cronaca #CronacaNera #Mistero #Delitto #Documentari #Documentario #Docu #Doc #DivinumCrime
Passato e Presente 2025
#Crime #TrueCrime #Delitti #Misteri #Killer #SerialKiller #ColdCase #Cronaca #CronacaNera #Mistero #Delitto #Documentari #Documentario #Docu #Doc #DivinumCrime
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TVTrascrizione
00:18Today we talk about a great actor of the twentieth century, he died at 24 years old but remained in the
00:25everyone's memory, especially in America, is James Dean, but before talking about him let's see the highlights
00:31of this story. April 8, 1954, James Dean leaves New York and takes a flight to Los Angeles, it was
00:41chosen to shoot the film East of Eden. March 28 - May 26, 1955, James Dean is on the set of the
00:51The film Rebel Without a Cause, which established him as an icon of young rebels. September 30, 1955, at just 24 years old.
01:01James Dean dies in an accident aboard his Porsche Spyder.
01:11We talk about James Dean's America with Professor Ferdinando Fasce. Professor, these are the years of
01:18Sanger's Catcher in the Rye, is there a connection between that novel and that actor, James Dean?
01:26Yes, there is a relationship in the sense that Sanger's novel is as if it instructs the practice of young people
01:34in the 50s and therefore posed the problem of a youth that is hard to understand why
01:41It seems to have no direction, it seems not to be... But why that youth in particular? We are in the years
01:4550, they are years of super well-being, they should be happy, the war has been over for five years,
01:52their older brothers died in the war and why is all that anger and that expressed
01:59violence? Well, first of all it must be said that that anger and that violence are relative and are
02:05highly perceived as such by adults. Now, here is a question that scholars have
02:10defined as moral panic, that is, what happens? It happens that for the first time young people are a
02:16physical mass first of all, unheard of, they grow at 4 million a year, well, in 1954 they are 15%
02:26of the population, here, and they go to school like no one has ever gone to school up until now.
02:31and they have opportunities for consumption and also for the development of culture, think of music,
02:36relatively autonomous clothing that worries adults. This is already half the
02:43explanation of the myth of James Dean and we enter the first chapter, the film that made him very famous,
02:53the Valley of Eden, and we enter it in the company of Carla Oppo.
03:00James Dean was born on February 8, 1931, in Marion, a small industrial town in Indiana. When
03:08Jimmy is six years old, for his father's work reasons, the family moves to Santa Monica,
03:13in California, but after two years the mother dies of cancer and the father decides to send his son back
03:19in Indiana. He is traveling alone on the same train that is carrying his mother's coffin. He is
03:25welcomed by his uncles, Quakers and owners of a small farm a few kilometers from
03:31Fairmount. After graduating in 1949, he joined his father in Los Angeles who enrolled him in
03:37Law School, but he has a different destiny in mind. He dreams of becoming like Barlon.
03:45Brando. Even at the cost of conflict with his father, he wants to reach New York and at 21,
03:51finally, after a very tough selection, he manages to enter the Actor Studio, the famous
03:57acting school founded by Elia Kazan and directed by the Strasbergs.
04:08Founded in 1947, the Actors Studio, inspired by Stanislavski's method, was about to revolutionize
04:16the rules of acting. Instead of simulating, the actor was asked to draw on the
04:22own emotional memory, to fish among the memories and feelings of his life to give body and
04:28soul to the character. When Kazan, the Oscar-winning director who had directed Marlon Brando
04:35in a streetcar called Desire, during an audition, he sees James Dean on stage, he knows he has
04:42found the right actor for the role of Kall, one of the two brothers in East of Eden,
04:47based on Steinbeck's novel of the same name.
04:54East of Eden tells the saga of two families, the Trasks and the Hamiltons.
05:01of Salinas, in central California, sometime between the end of World War I
05:05American Civil War and the First World War, is the backdrop to the main theme, that of the
05:11man's perennial struggle between good and evil. Kazan chooses to focus on one of the strands
05:18of Steinbeck's novel, concerning the relationship between two brothers, Aaron and Caleb,
05:23transposition of Abel and Cain. At the center of the film is Kall's conflicted relationship with his father,
05:30a biblical puritan, rigorous, severe, who does not know how to love and understand him and who prefers him
05:37obedient son Aaron, unleashing Kall's hatred, anger, and despair.
05:43Jimmy was ideal, he held a deep resentment for all fathers, he was vengeful,
05:50he suffered from a sense of loneliness and persecution, Kazan said to justify his choice.
05:55His real need for a father would have ensured identification with the character.
06:05The film's success is resounding. Dean's passionate performance wins over the audience, above all.
06:12the young audience, which in him, as well as in Marlon Brando and Montgomery
06:17Clift, for the first time they recognize themselves, neither angelic nor delinquent, as until now
06:23the cinema, had portrayed the boys. Dean transposes his personal suffering into that
06:30Kall's animalistic nature, who searches for his mother, discovering that she is not dead, as his father has always said,
06:36but instead it is a rich mistress. What is represented is the anguish of a new generation,
06:43tormented but willing to face her own ghosts, who explodes against bigotry
06:49of parents and against adult society. That generation that has just seen die
06:5640,000 young people in the Korean War.
07:04I was talking about the Second World War, but between 50 and 53 there was the Korean War,
07:09another 40,000 dead and they, those young people, those precursors of ours, take it out on their fathers
07:16especially with mothers. But what had fathers and mothers done wrong?
07:21Well, yes, a very important question. They're taking it in the meantime because we mustn't forget.
07:29that we are in a phase that has been defined as one of growing expectations. The end of the war produces
07:35the idea that there are no limits. So this really creates strong expectations that make
07:42notes with the fact that, however, she mentioned the Korean War. The Korean War is a moment
07:46of great tension. The outcome of the Korean War itself is unclear. It was won
07:53the First World War, the Second even more so. On the Third, American historians
07:58They say it's a draw, but it's not clear. And so the tensions that are closely tied to the war
08:05cold, because we must not forget the climate in which we are living, that is, the idea
08:09that the country must be united and respond to the Soviet challenge. All this does is
08:16burdening young people with responsibilities that are answered in a way that is often
08:23that of detachment, that of distancing oneself.
08:27And there, Veronica Quarti, there is the man, the great director who discovers James Dean, Elia Kazan,
08:34an almost legendary figure himself in the history of American cinema.
08:40Yes, in the Valley of Eden among other things Elia Kazan found himself having to manage two personalities
08:45very different and two opposite ways of acting. Dean's was more inclined towards improvisation.
08:51and Messi's rigidly tied to the script. Despite the difficulties, however, the film was made
08:57spokesperson of an important social message addressed to a skeptical America, among other things
09:04set in a very complex era, that of the Cold War. And as the United States
09:09As the United States entered the Cold War, Hollywood struggled to respond.
09:14to the post-war problems, mainly due to the fact that the directors, as well as
09:19the actors and producers were easily accused of having communist sympathies.
09:25But why? Because one of the propaganda ploys was warning precisely about anti-communism.
09:32So when Congress authorized the first investigations that were going to discuss
09:37Hollywood's loyalty, the film industry, rushed to assert its Americanism.
09:44And the House Un-American Activities Committee investigations forced many to Hollywood
09:50to choose between sacrificing their career or collaborating with the investigators.
09:55And among those who decided to cooperate and therefore name names was Elia Kazan.
10:02Well, what Veronica Quarti reminded us of is a very important episode, in the sense
10:09that Elia Kazan when he filmed East of Eden had already denounced those eleven friends of his
10:18and he was already almost blacklisted. The Elia Kazan affair was an important one.
10:25and the complaints to the McCarthy Commission?
10:28An important story first of all because, as you said, given the figure, Kazan is definitely
10:35an extraordinary character from an artistic point of view, because he is one of the few directors
10:41who is successful in the theater and then on Broadway and Hollywood. And he doesn't want to give up Hollywood.
10:48All in all, he had been made to understand that if he stopped at the theatre, he would most likely
10:56he would have gotten away with it. He decides to name names because it's clear that otherwise in Hollywood
11:00where in the meantime the witch hunt was really mounting, he would not have had
11:05more space.
11:06But professor, on the harbour front, telling the story of a corrupt trade unionist, it is
11:13as if he were avenging what he had done.
11:16There's no doubt about it. He actually claims this. He's different from all the others who speak,
11:21the director Edward Dimiti who is much more modest from an artistic point of view,
11:26precisely because he is the only one who claims and says I am on the Port Front to say that I am
11:31a convinced anti-communist liberal. In reality, however, his biographers have demonstrated that
11:38this coexists with the fact that in him there is an irrepressible anxiety to continue doing
11:45His profession is that of a film director. So for this he is willing to do anything.
11:51Basically, not without a good dose of cinza. In fact, it can be seen in his latest films
11:57that this torment... Continue, the compromise 69, headed precisely in that direction.
12:03Exactly, yes, it comes back to him. And where does James Dean catch him?
12:09James Dean, as it has been remembered, is seen at the theater. James Dean at the time was still an absolute
12:17unknown. Here, the James Dean story is moving, it's been a meteor, 16 months, in short.
12:22Here, he is seen at the theatre and Kazan has the intuition that this boy who is tormented, who is known
12:29he has a life, he had a life that was anything but face, difficult relationship with his father, he lost his mother to
12:34nine years
12:35and so on, he may be the right person to play this character, all focused
12:42around intergenerational conflict and sibling conflict.
12:48Professor Fasce explained to us what a great director is, one who goes to the theatre, he had already discovered
12:54among others Marlon Brando and discovers a young actor who will become even more famous,
13:00and we see it in the second chapter, with Rebel Without a Cause. We'll see it again guided by Carla Oppo.
13:09When James Dean burst onto the scene in the mid-1950s, the Republican was in the White House.
13:15Eisenhower. Wages increased and household incomes grew more than in any other country.
13:20the previous century. There is full employment and the percentage of Americans owning
13:25home ownership has jumped from 44 to 62%, while a full 60% of families own a car.
13:33America has entered the age of abundance. It is the triumph of the American Way of Life, the myth of
13:40a free democracy founded on well-being, consumption, and optimism. But it is a prosperity that
13:47It is also based on the lie of a democracy that discriminates against blacks in the ghettos,
13:52who declares peace with the threat of the atomic bomb, who flaunts freedom, but who rewards dissent
13:58and burns books deemed obscene. And denounces the communists in the State in a
14:04ideological hysteria, the McCarthyist one so ferocious as to send a woman to the electric chair
14:10New York couple Julius Edithel Rosenberg, accused of passing information to the Russians
14:16on how to build the atomic bomb. At the Warner studios, during the filming of the
14:27In East of Eden, Nicholas Ray is also there. He is a director who is very attentive to the theme of hardship and is
14:33working on a screenplay based on a book by psychiatrist Robert Lindner, entitled
14:39Rebel Without a Cause, an analysis of a criminal psychopath. The encounter with Dean is dazzling.
14:47The director himself will tell that in those weeks Jimmy kept a cup in the dressing room
14:53where he slept, dressed shabbily, spoke foully, and rode a motorbike. The brazen arrogance of the
15:02young actor pushes the director to change the character of the film's protagonist. No more
15:07an inmate, but a teenager next door, a clean-faced boy who
15:12but he is seething with torment and anger.
15:22Rebel Without a Cause, this is the Italian title of the film, it was released in theaters in 1955 and put in
15:29scene the revolt of three losers, three losers, two boys and a girl who are desperately trying
15:36a father, a moral model, and who instead find distant parents, obsessed with
15:42conformism and a sexophobic morality. The drunkenness, the knife fights, the infamous
15:51Chicken runs, tests of courage in cars, are a response to the lack of values and materialism
15:57that grips American society, a reaction to the lack of communication and conflict
16:02with adults.
16:08The film was a great success with critics and audiences.
16:13American teenagers, those who are not content to vent their exuberance in the cinemas
16:19dance, they identify with James Dean. Those jeans, that white T-shirt and that jacket
16:25red leather jackets become the rebel's uniform. While for many decades, in common parlance,
16:32adults, burnt youth will be the derogatory term used to define young people without will, without
16:38goals, without plans. There are few who glimpse behind that mask of arrogance
16:46the discomfort against a materialistic society. A poet, Allen Ginsberg, realizes this,
16:52in the very same year of the film's release he performed in public for the first time in San
16:57Francisco's poem, Howl, is a desperate cry of protest against society.
17:05repressive American, manifesto of the Beat Generation that was about to take its first steps.
17:11The cursed destiny of the three young protagonists will also consecrate the film's fame,
17:16James Dean, Sal Mineo and Natalie Wood would all die prematurely in tragic circumstances.
17:28So James Dean is not the father of Happy Days, American Graffiti, films that will take
17:36a little politely around the 50s, but of the Beat Generation or whatever
17:42It cinematically captures Allen Ginsberg's scream. Is that right?
17:48Yes, it is in the sense that Dean gives to young people, even starting from this, he is not tied
17:54directly to those of the Beat Generation, here, also because he is a little younger.
17:58Beat Generation moves between Montgomery Clift and Brando, so between 20 and 25 and 26,
18:03of Ginsburg. Well, he gives, how can I say, a way of behaving to all this, he gives a
18:10image dress, the T-shirt, the always restless tone, the uncertainty, there, and so it gives
18:19young people a role model they can identify with. Here. And then in this sense
18:26a bit of a go-between, that's it. But how come the three symbolic actors, the ones you mentioned,
18:31Montgomery Clift, Marlon Brando and James Dean, they are not part of that Beat Generation life,
18:38of the Cafè Trieste in San Francisco, of all the things that are known, Kerr, Ginsburg, nothing,
18:44you never see them in this... they are distant.
18:48Yes, they are the two Californias, that is California and San Francisco which is this countercultural center.
18:54by definition, and then Los Angeles which is the center of the entertainment industry.
19:00Here, and they are two worlds that in many ways remain separate.
19:06James Dean's homosexuality, a topic that was hidden in those years, at least partially
19:15homosexual because they attribute him, indeed for a certain period, to Anna Maria Pierangeli,
19:19then she leaves him, marries Vic Damone, I think, but we know he was homosexual,
19:27Afterwards many have shared his secrets.
19:31Does it have anything to do with this load of anger?
19:36I would definitely say yes.
19:37In the sense of not being able to say.
19:38Certainly yes, here we enter into the complex story of sexuality in the 50s.
19:46which is fought against conformism.
19:50It's the Cold War again, we have to show ourselves as men, right?
19:53Marlboro County, that's the model, in short.
19:57John Wayne, here.
19:58And it is no coincidence that I mention John Wayne because he is the actor most directly involved with his own sexuality
20:08homosexual is Montgomery Clift, who we see in Red River.
20:12They are all forced to hide all this.
20:15I would like to note that here there are homosexuals like Montgomery Clift, like the young Salmineo,
20:21which is in Rebel Without a Cause, and bisexuals like James Dean and Marlon Brando.
20:29And Paul Newman himself.
20:30Yes, but they all have homosexuality in common, whether partial or total.
20:35Well, but I would say that this is also part of this redefinition of sexuality.
20:40and redefinition of male identity in recent years.
20:43And therefore also the fact of opening up to this dimension.
20:47Very true. So let's now enter the third chapter where we see how around his death
20:54the myth of James Dean develops, always guided by Carla Hoppo.
21:00The anger of young people embodied by the tender and poignant face of James Dean
21:05it still has no political or collective horizon.
21:08It's almost more of a psychological and individual nature.
21:11Yet there are many impulses that simmer beneath the conformist cloak of American society.
21:17In the same months that James Dean's star was born, Elvis Presley exploded.
21:22and with it the frenetic rhythms of rock and roll, a transgressive music, feared by adults
21:28which is no coincidence that they recognize it as the soundtrack of juvenile delinquency.
21:32But the months of Dean's prominence are also those in which the African-American Rosa Parks
21:38She is arrested for refusing to give up her seat on the bus to a white man.
21:43It is precisely to defend Rosa Parks' gesture that a young Protestant pastor
21:48Martin Luther King Jr. organizes the boycott of the Montgomery bus line
21:53kicking off a pivotal season of civil rights battles.
22:04"Rebel Without a Cause" hasn't been released in theaters yet.
22:07when Hollywood producers became aware of the Dean case
22:10they decide to cast him in a third film.
22:13“Giant” directed by George Stevens alongside Elizabeth Taylor and Rob Hudson.
22:21James is Jet Rink, a farmhand in love with Leslie, a rich girl from Maryland.
22:26in a melodrama set on Texas ranches
22:30between wealthy cattle breeders and newly emerged rich
22:33thanks to the discovery of oil, Mexican laborers and servants.
22:40An ambitious film that, while telling the story of the transition between the old and the new capitalism
22:45It also alludes to the racial issue.
22:48For Dean, these are busy weeks on the set of the giant.
22:57Director Stevens doesn't love him, he treats him harshly, like a spoiled brat.
23:03And the studios, worried about his mania for racing,
23:07They imposed a clause in his contract that forbids him from using tracks and cars during the work.
23:14Even while on set, they asked him to be the testimonial for a commercial about road safety.
23:39But a tragic irony is about to put an end to the life of that boy with the melancholy smile.
23:46On September 30, 1955, while the last Chucks were being filmed on the set of Giant,
23:56James Dean is behind the wheel of his Little Bastard, as he had nicknamed his Porsche Spyder 550,
24:03when he is hit by a Ford sedan driven by a boy like him.
24:10James dies at just 24 years old on US Road 466.
24:18A tragic and premature death makes him an immortal hero.
24:23The romantic symbol of youthful frenzy that James had expressed in an exhortation.
24:31Dream as if you will live forever.
24:34And live as if you were to die today.
24:48The most extraordinary thing is that the most famous scene of Rebel Without a Cause
24:54it was the one with the boys racing cars
24:57to stop a moment before a precipice, and therefore death.
25:01And then, in the course of, as she said, an affair that
25:05James Dean's film career lasted a year and a half.
25:09All this was accomplished in a giant, to quote the title of one of his films, in a year and a half.
25:17How did America react to that scene of wasted youth?
25:22I mean, it's a scene that shows young people doing something
25:28as if today we showed young people and they shot each other.
25:32The film does not fail to arouse disquiet and bewilderment.
25:38and at the same time a strong identification on the part of the young audience.
25:44So there are these two sides to the reaction.
25:50We must not forget that the matter is then accompanied
25:54simultaneously with the outbreak of rock 'n' roll.
25:57So, actually, the Dean story and also this image,
26:00which we must not forget,
26:02Rebel Without a Cause, it's true, it has that scene,
26:04but the ending veers towards a happy ending, right?
26:08Even if in a bitter way,
26:11so, in short, there is also a recovery in this sense.
26:13And then, right away, rock 'n' roll explodes.
26:16That is, a declaration of youthful vitality erupts
26:20which somehow includes and softens
26:24the concerns triggered by Rebel Without a Cause
26:29creating more, because then Elvis arrives.
26:32But even the myth of rock'n'roll is a myth: Elvis Presley,
26:36it is a myth of protest, pre-protest.
26:41Yes, yes, it is a rebellious myth in some ways.
26:44There is no doubt about this, so much so that,
26:47even if rock'n'roll doesn't appear in Dean's films,
26:51here, Elvis says he was inspired in August 56
26:56and he gives an interview in which he says
26:57I was inspired and I am inspired in my way of moving
27:00to James Dean, because if one wants to be a rebel,
27:04he wants to be a rocker, he must never smile.
27:07He must never smile.
27:08Samuel Boscarello, but how did this myth of James Dean arise?
27:13From this point of view, what is happening in Europe is very interesting,
27:18where the figure of Dean, with his tragic end,
27:21becomes a symbol of all the most apparently worrying characters
27:25of the new generations.
27:27This was especially true in the late 1950s,
27:30when an increase in juvenile delinquency is recorded almost everywhere,
27:34also in Italy, especially in the cities of the industrial triangle,
27:38in Rome, albeit with a lesser intensity
27:40compared to other Western European countries.
27:43The moderate, conservative press,
27:46reads these events as the result of the weakening of traditional authority,
27:51starting from that of the family,
27:53also because of the bad example of characters like Dean
27:57or, in music, Elvis Presley.
27:59But equally interesting is the point of view of the communist press,
28:04that Dean's lifestyle represents a false solution
28:09compared to the evils of capitalism,
28:11an individualistic escape for its own sake,
28:14which is instead contrasted with the heroism of the previous generation,
28:19who fought the war, the resistance,
28:22and they try to demonstrate this thesis through rivers of articles that delve into the actor's life.
28:28So this biographical effort is conducted on both fronts.
28:34For fans the creation of Digo,
28:36for detractors, the construction of the anti-model par excellence.
28:40Well, this rereading of the communist newspapers is very interesting.
28:47who contrast it with the previous generation, the anti-fascist one, of the partisan war.
28:54Yet, in my opinion, there is a seed planted in James Dean
29:00and put into rock and roll which will then rejoin the left-wing world
29:06in the 60s at the time of the Vietnam War and will give birth to 68.
29:12These are worlds that start from the criticisms that Boscarello was just talking about
29:17but destined to reunite.
29:19Yes, that's true.
29:20Going through some intermediate steps,
29:25we must not forget that it is interesting to remember that
29:28immediately after the release of Rebel Without a Cause in Italy
29:33which is welcomed, as we said, in short, the two great countercultures
29:37both the Catholic-Christian Democratic one and the Communist one
29:39they essentially reject it.
29:41And there a separation is created instead with the youthful attitude.
29:45Here, there is a kind of answer in Italy which is given by Poveri Mabelli
29:48and Poor Mabelli is the neutralization of the thing
29:51because Poveri Mabelli is a way to defuse the tension with a smile
29:55the generational conflict.
29:56After that, things start again and we get to...
30:00But does anyone in Italy understand Rebel Without a Cause?
30:05I mean, there's some...
30:07How is it received, for example?
30:08Is it successful?
30:09It is successful and, as I was saying, from the point of view of general orientation
30:16the two major subcultures essentially reject it.
30:21Well, there are some critics who find fault with Ray's direction.
30:25Ray is a director of remarkable caliber and then, how can I say, very in tune, right?
30:32Because Ray is very close to Dean.
30:34It's the closest one.
30:35That's what makes him express himself better in some ways, right?
30:38Here you are.
30:38And so there's a...
30:40in part, at least even by some critics.
30:43Because in later years those cultural magazines
30:47type Red Shadows by Goffredo Fofi
30:49they will recover it in full.
30:51In full.
30:52Nicola Saray will become a legend.
30:53Absolutely because it is the anticipation of a rebellion that then becomes collective.
30:57Last character, the Giant.
31:01In your opinion, is the character played by James Dean in Giant consistent with previous films?
31:10I would say yes.
31:12Here he is no longer the protagonist.
31:14So this should not be forgotten.
31:16And let's not forget...
31:18Because the protagonist is Roccazzo.
31:19It was Roccazzo.
31:20Well, I would say that compared to the previous ones there is the continuity of the element of tensions,
31:28of family contradictions, of family conflicts.
31:31Well, that's definitely there.
31:33Furthermore, in the Giant there is the conflict between ruralism and the emerging oil industry.
31:44So it's a more complicated movie.
31:46In some ways it's more complicated and also, shall we say, more organic to Hollywood than the other two.
31:52Stevens is a much more Hollywood director than both Kazan and Ray.
31:57Professor, I'll ask you one last, blunt question.
32:01If she had to name two actresses who represent the female equivalent
32:06of that generation of actors, American ones obviously I'm talking about, or if there are also European ones, who are they?
32:15Well, the first, I would say, is an actress who disappears early, because she is the victim of a witch hunt.
32:23Kim Hunter, who is the actress of A Streetcar Named Desire, extraordinary actress.
32:29The second, Elizabeth Taylor.
32:31Elizabeth Taylor, who was also the confidante of all of them.
32:35Everyone will work well.
32:37Elizabeth Taylor has a sensitivity and is close to both Clift and Dean, like probably no other.
32:44Professor, the three books?
32:46The three books are, the first is a fresco from the social and cultural point of view of the 50s.
32:53A book that introduces us to the society of the time, it has some very interesting pages on youth and also on
33:00James Dean.
33:01It's Bruno Cartosio, restless years.
33:03The second book is the standard biography of Dean, not the best of the books, but the one we can find in
33:12Italian.
33:13Donald's photo, Rebel.
33:15Life and legend of James Dean.
33:16The third book, in a certain sense, in the form of an essay, no more than a hundred pages, with the
33:26the very casual and brilliant pen of the great critic Goffredo Fofi sums up both things.
33:33Because it brings Dean together within the youth issue and within the world of cinema.
33:39And it is precisely the century of young people and the myth of James Dean.
33:43I thank Professor Ferdinando Fasce and Carla Oppo who guided us in this episode, as well as Veronica Quarti
33:53and Samuel Boscarello.
33:55And while you take note of the books Professor Fasce suggested, I'll prepare for the conclusions.
34:05Troubled years, society, media, ideologies in the United States from Truman to Kennedy.
34:11Bruno Cartosio, united editors 1992.
34:16Rebel, life and legend of James Dean.
34:20Donald's photo, Odoia 2011.
34:23The Century of Youth and the Myth of James Dean, Goffredo Fofi, La nave di Teseo 2020.
34:34Ferdinando Fasce and I spoke at length about Elia Kazan, the great director who discovered James Dean.
34:41He had also discovered Marlon Brando, with whom he had shot a piece called Desire, long live Zapata, in front of the
34:50port.
34:50But that time he chose James Dean and asked Steinbeck's opinion who told him
34:58but it's too cheeky but it's okay.
35:01At that point he also took it because he was all confused about the events we talked about, about the commission
35:10McCarthy to whom he had denounced all his companions.
35:13Something that was never forgiven him, or rather, he was forgiven at the end of his career, in 1999, when
35:22The Oscars dedicated a special award that well remembered this story.
35:31But this story had not been forgotten because at the time of the applause Scorsese and De Niro stood up
35:38but others like Nick Nolte ostentatiously remained seated.
35:42Thank you all.
36:13Thank you all.
36:16Thank you all.
36:21Thank you all.
36:22Thank you all.
36:24Thank you all.
36:25Thank you all.
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