Discovering the “Teenpic” Golden Formula

Reading Medovoi’s discussion on the two films Rebel Without a Cause and King Creole starring two of the most recognizable names of the 1950s and still today, James Dean and Elvis Presley, I realized that I had never seen either film. Medovoi’s description of scenes accompanied by photographs was not enough for me to be convinced by his argument. Medovoi explains that each film ended with the protagonist “rebel” mending their relationship with their father after a long rebellion against them. It seemed very cliché and expected that a Hollywood film would end this way. To see for myself, I watched the last scene of each film and witnessed the transformation that Medovoi describes.

Both films feel very formulaic since they follow a rebellious protagonist who protests against their “domesticated male” fathers. After a long rebellious streak, they reconcile with their fathers when they realize that they have grown out of their “rebel” stage. It is especially interesting when Medovoi refers to these two films as an “oedipal drama” because they both fit this template of a “teenpic” genre. Watching the last scenes of these two films reveals the realization of the protagonist as recognizing his own gender role and identity and accepting that of his father’s as well. There is a feminine and sensitive quality that appears in the rebels of both films. Jim, James Dean’s character begins to cry and latches onto his father’s leg as if he were a child begging for forgiveness for his rebellious ways and realizes his role as the child when his father states, “Stand up and I’ll stand up with you.” While Danny, Elvis’s character, is singing a love song on stage and shows his father that he has forgiven him through his performance. These images are the complete opposite of what is considered a rebel. It seems very sudden and conformist but at the same time expected for a Hollywood film that is directed towards a teenage audience. This happy ending formula for the teenage genre has continued to exist still today. I immediately thought of film such as the Breakfast Club that has the “rebel” character but by the end shows his softer side and wins the popular girl’s heart. Although it is completely opposite of the “rebel” role it is expected that the non-conformist ultimately conforms in one way or another. This transformation from “rebel” to “good guy” seems too sudden but as I stated before it is expected for a Hollywood film regardless of whether it was in the 1950s or 1980s. I agree with Medovoi’s use of explaining these rebel “teenpics” as “oedipal dramas” in a way but although I am advocating it is weird to think of these films about teenage drama and relate them to a more complex situation especially with the amount of success these films had amongst the teenage audience.