The 1950s were a decade of enormous change in American culture and society. From the McCarthy hearings on communist subversion and the signing of the Civil Rights Act to idealized television fare like Father Knows Best and Leave It To Beaver, the decade was one of superficial appearances masking turbulent times. The advent of television was responsible for enormous changes in American society. Shows like Father Knows Best showed the ideal American family. It was the family every one wanted but few had. The father never raised his voice, lost his patience, or did stupid things. A repository of wisdom, his children were obedient and trouble for them consisted of dating issues and late homework at worst. In stark contrast to this portrayal of idealized family relations and blissful adolescence came Nicholas RayÆs film Rebel Without A Cause, a blistering illustration of trouble family relations and even more troubled adolescents.
In stark contrast to the idealized family life shown on Father Knows Best, the opening of Rebel Without A Cause shows Jim Stark, a drunken teen, lying on a street with his toy monkey. The monkey is a symbol that Jim is still immature and innocent on some level. He is picked up by authorities and taken to the police stationÆs juvenile division. JimÆs family consists of a weak, ineffectual father who cow-tows to his domineering wife who is concerned only with social aspirations and acceptance from others. They arrive to pick up Jim, embarrassed and angry they had to leave their fancy country club dinner.
Jim is alienated and confused. He blames his parents for constant arguments as the cause of his own dilemma. He perceives his father as a ôchickenö for taking his motherÆs abuse, something that makes him strike out against his peers. Jim admits to moving often because his parents think it will resolve his habitual habit of messing up. When a caring juven
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