Photoplay (Jul-Dec 1956)

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The out-oftown opening had proved Jimmy to be a highlight, but the show to be in need of rewriting and redirecting. A new director was brought in to take over and Jimmy’s part was drastically cut down. He had always shown a sonlike attachment to any director in whom he had faith and confidence, but, either deliberately or imintentionally, this new director abused his confidence. As Jimmy related it, the director turned on him one day when he asked for guidance in his role. The experience so shattered Jimmy that he left the rehearsal for several hours. Because of the cutting of his part and his disillusionment by the director, Jimmy gave his quitting notice the night the show opened in New York. In spite of the behind-the-scenes difficulties, the reviews of the show praised Jimmy’s performance highly. Jimmy settled down to fill out his contract and, once again, waited. There is a point in the lives of men destined to be famous when Fate steps in and offers the perfect circumstance or vehicle to help them on their way to greatness. Once this opportunity has been afforded him, however, a man must assume the responsibility for following through and proving his worth. As James Dean prepared for his moment, another man — an active man with a power and greatness of his own — was preparing another of his many projects, a screenplay which he planned to direct. The lives of the two men had crossed occasionally, but briefly. To Elia Kazan, James Dean was an actor, a member of The Actors’ Studio, another actor to be watched and catalogued for future reference. To James Dean, Elia Kazan was a master of his craft, a champion of his school, a maker of his destiny. It would have been normal procedure for any good agent to submit Jimmy’s name for a role in Elia Kazan’s production of “East of Eden.” But Jane Deacy isn’t merely any good agent. She is an intelligent woman with an acute eye for just the right thing, and when she read the screenplay for “Eden,” she knew it was just the right thing for her client, James Dean. So, in her own style (which shall remain a professional secret), she *■ gave Fate a gentle nudge and nursed th situation, convincing all concerned tha “Eden” was the perfect vehicle fo Jimmy’s talent. Kazan was familiar wit ^ Jimmy’s work at the Studio and had bee “ impressed by him in “The ImmoraUst. ^ He liked Jimmy and was soon convince that he would fit the role of Cal in hi forthcoming production at Warner Broth ers. Jimmy was signed to do the part, the Fate stepped back to let him do the rest. As a boy, Jimmy had had seven motorcycles. In the years away from h ^ horne in Indiana, he grew to miss th thrill, the sweet sensation of whizzin ® along the roads and highways. As h f pocketbook fattened, he found he ha enough to warrant the purchase of sue ’■ a luxury. New York is hardly the perfed^^i place for motorcycling, but any place wi do in a pinch, and Jimmy was in a pincl f He buzzed around town from appointmei to appointment, storing the cycle in tl " entrance-way of his apartment buildir when he wasn’t using it. When peop pointed fingers and called him “Brandc imitator,” he didn’t hear them. He kne what his motorcycle meant to him — th( didn’t. But, as it is so often with things yc f love, you get hurt by them. The week 1 was signed to do the role in “Eden Jimmy took a bad spill on the motorcycl scraping himself seriously. Kazan h; several strong words to say about tl ^ incident and concluded by instructii Jimmy to “stay off that motorcycle.” S: instead of cycling across the country — Hollywood as he had planned, Jimmy r( luctantly stored the motorcycle, packed ' few things, boarded a plane, and bai farewell to New York, the city he hi come to love for all it had given him. 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