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This is TSY coming to you from Japan– the land of the rising sun. Here’s a little TSY x DETAILS piece on film and counter culture legend James Dean, whose birthday was February 8th, same as yours truly.
Man, can you believe he would have been 80 yrs old?
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Icons James Dean, Elizabeth Taylor and Rock Hudson sharing the silver screen– ‘nuff said? Not quite. While I love the glamour, legend, and lore behind the making of “Giant” (and trust me, we’ll get to that), it rings the social bell– truly ahead of its time, during the largely superficial values of the 1950s.
George Stevens’ 1956 masterpiece “Giant” has been described as– Texas’ own “Gone with the Wind.” Star-studded, sweeping and epic– that bravely chronicles the evolution of the Mexican people from a subservient status to a people worthy of equal rights, respect and dignity through their hard-fought, slow-earned absorption and acceptance in America. It’s a story about social change and ethnic growing pains that was told on the big screen– before the issue was thrust front-and-center in American living rooms during the civil rights movement.
America has a history of making the path to assimilation and acceptance (in this fine country of ours that I love) a downright bloody one. Hatred comes from fear–and fear is born of ignorance. I’ve been down that road myself– most of us have at some point. Like it or not. Maybe the melting pot analogy is fitting here– throw it all in, boil out the bones, cook under high heat until palatable, and serve up warm.
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“In the beginning of “Giant,” the rancher Bick Benedict is always correcting his Eastern-bred wife for treatingthe Mexican servants as deserving of respect. By the film’s end, however, Benedict, played by a young Rock Hudson, comes to blows with a cafe owner attempting to remove a Spanish-speaking patron from his restaurant. Above all its themes, “Giant” is about social change. Hollywood for the first time addressed anti-Hispanic racism.‘Giant’ broke ground in the way it celebrated the fusion of Anglo and Hispanic culture in Texas– and anticipated the social gains that Mexican-Americans would make over the next generation. The movie is as much about race as it is about Texas.”
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—Benjamin Johnson (Author and Historian)
The Reata Ranch House (seen above in the background) in “Giant” is based on a actual Texas mansion– the Victorian era “Waggoner Mansion” that still stands today in Decatur, northwest of Fort Worth, Texas. George Stevens rejected the hacienda architecture of the traditional Texas ranch house (which is how the Benedict place is described in the Ferber novel). Stevens worried that a Spanish-looking house would be alien to non-Texan viewers. via The huge façade (of the Reata Ranch house) was built in Hollywood and shipped to Marfa on flatcars. It was erected in a corner of the Worth Evans ranch, one of the more imposing holdings of the region. And it was a strange sight, its towers visible for many miles, in the middle of the plains. As it was about a half enclosure rather well constructed, Stevens left it to serve the hospitable Mr. Evans as a hay barn. via
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1955– Elizabeth Taylor & James Dean in George Stevens’ “Giant.” –Image © Sunset Boulevard/Corbis
“We were working on’Giant’, and we’re out in the middle of Texas. It was a scene that takes place just before Dean discovers oil on his land, where Elizabeth Taylor comes by and he makes tea for her. It’s the first time Dean has ever acted with her. But even though we’re out in the desert in Marfa, there are a thousand people watching us film behind a rope. It’s a scene where Dean has a rifle on his back. He brings her in and makes her tea, and then, suddenly, he stops. And he walks a couple hundred feet away to where these people are watching us, and in front of all of them, he pisses– facing them, with his back to the set. Then he comes back in and does the scene. So, later, we’re driving back to Marfa, and I said, ‘Jimmy, I’ve seen you do a lot of strange things, man, but you really did it today. What was that all about?’ He said, ‘It was Elizabeth Taylor. I can’t get over my farm-boy upbringing. I was so nervous that I couldn’t speak. I had to pee, and I was trying to use that, but it wasn’t working. So I thought that if I could go pee in front of all those people, I would be able to work with her.'” –costar Dennis Hopper via
Pontiac GTO Monkeemobile built by Dean Jeffries. The car was featured on the NBC network’s comedy television show “The Monkees” starring Davey Jones, Mike Nesmith, Micky Dolenz, and Peter Tork. Created from two Pontiac GTOs, the visually radical Monkeemobile was an instant hit with fans of the show. This shot shows the dragster-inspired parachute deployed at Dean Jeffries Automotive Styling offices on Cahuenga Boulevard in Los Angeles.
Legendary painter, customizer, racer, and stuntman Dean Jeffries is one of those guys whose soft-spoken nature has allowed other, more self-promoting figures (read: George Barris, the Don King of Kustom Kulture) to steal a lot of his thunder. Barris has tried to hire on Jeffries as an employee many times over the years, and Jeffries always rebuffed– preferring either to rent his own space, or work freelance. Their histories are forever entwined, and the tales of rivalry, and particularly Barris’ trickery, are the stuff of legend. Many of Dean Jeffries’ most recognized works (like the Monkeemobile, for one)– George Barris came behind and unrightfully claimed credit for them. It’s dumbfounding and downright sleazy– we’ll get to that later.
Dean Jeffries grew up immersed in Los Angeles auto culture– his dad was a mechanic, and next door to his dad’s garage was a bodyshop. The young Jeffries was drawn to the creative expression allowed in bodywork over turning a wrench (“too greasy!”) like his ol’ man– the bodyshop became his hangout of choice. After returning from the Korean War, he became buddies with another future legend of Kustom Kulture— Kenny Howard (AKA Von Dutch), and started pinstriping.
“We’d do freelance pinstriping on our own, then get together and hang out. I also worked during the day at a machine shop doing grinding. But pinstriping really took off then–I was painting little pictures and medallions on cars. My first job was pinstriping a boat. I didn’t have no shop back then. You were lucky if you got $5 for a whole car. If you got $25 in your pocket in a day you were King Kong. I thought it was great.” –Dean Jeffries
More than anything else, I’ll always remember Dean Jeffries for painting the infamous “Little Bastard” badge on the Porsche owned by his racing buddy– James Dean.
“For years Barris claimed he painted it– now he just says he can’t remember and somebody in his shop painted it. Sure. I used to bum around with James Dean. I wasn’t trying to be his movie friend. We just had car stuff between us. We hung out, got along together real bitchin’. But one day Dean asked me to paint those words on his car, and I just did it.” –Dean Jeffries
Love this pic. There’s the obvious knockout pinup, Carol Lewis (Dean Jeffries’ high school sweetheart in front of his ’47 Merc), posing for his pinstriping pleasure, but also check out Dean Jeffries’ paint box. “The Modern Painter Has Arrived.” It’s an incredible piece of work in itself.
“The above shot comes from a publicity shoot done ironically, at Barris’ shop, with George behind the camera. Jeffries was just out of high school, and Barris tried to hire him, but Jeffries wanted to sub-contract to Barris, so Barris cleaned out a storage area in his shop, and Jeffries based himself out of there. Pretty slick on Barris’ part– he could grab Jeffries any time he wanted a striping job.” –Thanks to Irish Rich for the story on Carol Lewis.
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Carol Lewis’ custom 1956 Chevrolet– Dean Jeffries high school sweetheart. –image via Kustomrama “It was Jeffries who was having dinner across the street from Barris’ shop when he spotted the smoke coming from the start of the disasterous Dec. ’57 Barris shop fire. He ran across the street and broke in, and managed to get Lewis’ 56 Chevy out of there before the flames got too out of control. Lewis’ Chevy was done in a similar style as Jeffries’ ’47 was.” –Irish Rich
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“There are moments that I’ve had some real brilliance, you know.
But I think they are moments. And sometimes, in a career, moments are enough.
I never felt I played the great part. I never felt that I directed the great movie.
And I can’t say that it’s anybody’s fault but my own.”
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–Dennis Hopper
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Dennis Hopper, Natalie Wood, and James Dean on the set of Rebel Without a Cause.
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“In the 50s, when me and Natalie Wood and James Dean and Nick Adams and Tony Perkins (Anthony Perkins) suddenly arrived… God, it was a whole group of us that sort of felt like that earlier group – the John Barrymores, Errol Flynns, Sinatras, Clifts – were a little farther out than we were… So we tried to emulate that lifestyle. For instance, once Natalie and I decided we`d have an orgy. And Natalie says ‘O.K., but we have to have a champagne bath.’ So we filled the bathtub full of champagne. Natalie takes off her clothes, sits down in the champagne, starts screaming. We take her to the emergency hospital. That was our orgy, you understand?” –Dennis Hopper
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Dennis Hopper (at 18 yrs old) on the set of Rebel Without a Cause
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“I am just a middle-class farm boy from Dodge City and my grandparents were wheat farmers. I thought painting, acting, directing and photography was all part of being an artist. I have made my money that way. And I have had some fun. It’s not been a bad life.” –Dennis Hopper
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Young Dennis Hopper waiting for his lunch in a Hollywood bistro –Frank Worth, 1955.
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“Like all artists I want to cheat death a little and contribute something to the next generation.” –Dennis Hopper
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The irony is that James Dean was considered anything but stylish by many of his Hollywood peers of the day. He turned heads and created a legend, not by dressing up– but by dressing down. Established style icon Humphrey Bogart looked down his nose at Dean, considering him a punk and a slob. On Jimmy’s passing, Bogart had this to say– “Dean died at just the right time. He left behind a legend. If he’d lived, he’d never have been able to live up to the publicity.” Bogart was right in that Dean was difficult, and definitely not a natty dresser– but his impact on style can never be diminished.
James Dean cemented the rebel uniform for his generation of youth, and for many to come, through his very personal portrayal of Jim Stark in Rebel Without a Cause. Immortalized onscreen in Technicolor wearing the now iconic red jacket, white tee, Lee 101 Jeans, and engineer boots, Dean seemed to hold the world breathless, and became the first actor to speak for the silent anguished teen– he gave them a voice they had been lacking. Before James Dean, onscreen you were either a boy or a man. Dean’s influence on countless great actors that followed him created some incredible performances, like Martin Sheen in Badlands, who owes Jimmy everything he knows about acting.
“Jimmy Dean and Elvis were the spokesmen for an entire generation. When I was in acting school in New York, years ago, there was a saying that if Marlon Brando changed the way people acted, then James Dean changed the way people lived. He was the greatest actor who ever lived. He was simply a genius.” – Martin Sheen
James Dean on the set of George Steven’s epic 1956 masterpiece, Giant. It was Jimmy’s last film, and was released after his tragic death behind the wheel of the infamous “Little Bastard'” Porsche Spyder. Jimmy was on his way with mechanic Rolf Wütherich to Salinas to pursue his other passion– racing cars. James Dean received two Academy Award nominations for Best Actor posthumously, the only person to this day to ever do so– in 1955 for East of Eden, and again in 1956 for Giant. — image via Hulton archive
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In 2006, the original Lee 101z Rider jeans worn by James Dean (pictured above) were auctioned off for $35,850. Lee Japan has introduced a replica of these same 101Z Rider jeans worn by James dean in Giant for the Lee Archives in 13,25oz narrow loom, Sanforized indigo cast denim with its characteristic one-side selvedge.
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James Dean as the surly and misunderstood Jett Rink in George Steven’s epic masterpiece, “Giant.”
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Extremely excited to finally get my hands on a hard copy of the GQ Italia 10th Anniversary issue, featuring 10 Men of Style by THESELVEDGEYARD (TSY)–
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Robert Redford (Image rights — Bettman/Corbis)
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Paul Simonon of The Clash (Image rights — Catarina Eric/Eyedea/Contrasto)
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James Dean– from the haircut and setting, I’d say it’s during the filming of Rebel Without a Cause.
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Dennis Hopper said that when he was around 18 or 19 years old, he thought of himself as one of the best, our at least on his way to being one of the best, actors in the world. That is, until he met James Dean. Watching Dean in action as they worked together in Rebel Without a Cause, Hopper witnessed Jimmy doing things so far over his head as an actor, that at the time he couldn’t even comprehend it. He knew Dean knew something, had something, that he didn’t, and it made him special– set apart.
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Dennis Hopper, Natalie Wood and James Dean in Rebel Without a Cause.
I’m very pleased and proud to announce that THESELVEDGEYARD will now be a regular VINTAGE feature in GQ Italy. TSY debuted in the March 2010 issue, selecting 10 timeless, real men of style– and we look forward to a long and prosperous partnership filled with lots of authentic goodness.
So friends– please brush-up on your Italian and follow along.
Ciao,
JP
Marlon Brando relaxing at home with typewriter, and furry little friend. –Image © Murray Garrett
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James Dean on the set of “Giant” — Image by © Hulton Archive/Getty Images
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Steve McQueen displaying his signature, perfect balance of allegiance and rebellion.
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With roots that can be traced all the way back to the days of ancient Greece– flipping the bird, as I like to call it, (or giving someone the finger) is the world’s favorite naughty gesture. But there’s definitely an art to it. The subtle nuances of the physical fingering, facial expression, and context of the act itself, can make it anything from phallic and vulgar, to friendly and fun-lovin’–sometimes even deeply profound.
Love it or hate it– this bird you cannot change. Oh yes I did.
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Circa 1989, New York, NY — Marlon Brando distinguishing the middle finger of both his hands on the set of the picture The Freshman. The “nonchalant double-fisted fuggetaboutit” flip.
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Circa 1954, USA — Director Elia Kazan on the set of his 1954 film East of Eden with Marlon Brando and James Dean. — Image by © Sunset Boulevard/Sygma/Corbis. The “I’m not smilin’ for no camera, and you need to get yer own schtick, kid… oops, did you catch me flippin” you off” flip.
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Aug 22nd, 1957, Washington, DC — James R. Hoffa, heir-apparent to the Presidency of the giant Teamsters Union, as he appeared before Senate Rackets probers. Investigators reported that they have been told that former heavyweight champion Joe Louis “was paid $2,500 to sit in the courtroom for two hours” during Hoffa’s recent bribery-conspiracy trial. Hoffa, who was acquitted, told the committee: “If he was paid $2,500, he was not paid by Hoffa. I know nothing about it.” — Image by © Bettmann/CORBIS. The satisfying subversive “Something’s in my eye, your Honor…” flip.
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Sept 16th, 1976, Binghamton, NY — Vice President Nelson Rockefeller gives a crowd of young hecklers an upraised middle finger gesture at the Broome County Airport during a brief stop here while on a campaign trip with Vice Presidential candidate Bob Dole (L, Background, out of focus). Rockefeller said he was “responding in kind” to the demonstrators. Love it. — Image by © Bettmann/CORBIS. The “I could buy and sell you, you little smarmy toad” flip.
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James Dean on the lot of Competition Motors with his infamous silver Porsche 550 Spyder not long before is tragic death on Sept. 30, 1955 – Image courtesy mptvimages.com. Jimmy had finished shooting George Stevens’ epic “Giant” (notice his hairline was shaved by the studio to play the older, receeding Jett Rink). With the film in the bag, he was now free to race.
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The day of James Dean’s tragic death behind the wheel of his Porsche Spyder is well documented, as professional photographer Sanford Roth was accompanying Dean for an article on the actor’s passion for racing in Collier’s Magazine. This image shot by Roth in Hollywood on the morning of the accident, shows Dean and Rolf Wütherich preparing for a weekend of racing and camaraderie. That this would be Dean’s final hours, or that Wüetherich was about to experience a life-shattering event, was clearly the furthest thing from either one’s mind. Julien’s Auctions sold an 11×14-inch print of this shot, taken from Roth’s original contact sheet and mounted on foam core, for $1,500. It is confirmed to be among the last “official” images taken of the actor before his fatal crash. via
The Selvedge Yard 