James Dean is not an imitation of anybody

Bosley Crowther, famed film critic of The New York Times, was quite critical of James Dean after seeing him in his first big role in Elia Kazan's East of Eden (1955). In his review, published on 10 March 1955, Crowther wrote: "This young actor, who is here doing his first big screen stint, is a mass of histrionic gingerbread. He scuffs his feet, he whirls, he pouts, he sputters, he leans against walls, he rolls his eyes, he swallows his words, he ambles slack-kneed — all like Marlon Brando used to do. Never have we seen a performer so clearly follow another's style. Mr. Kazan should be spanked for permitting him to do such a sophomoric thing. Whatever there might be of reasonable torment in this youngster is buried beneath the clumsy display".

Crowther was not the only one to criticise Dean's acting and Kazan's direction. There were others, among them Lee Rogow of the Saturday Review, who wrote on 19 March 1955 that "Kazan [had] apparently attempted to graft a Brando-type personality and set of mannerisms upon Dean, and the result [was] less than successful". Dean, who idolised Brando, responded to the criticism in Newsweek: "I am not disturbed by the comparison, nor am I flattered. I have my own personal rebellion and don't have to rely upon Brando." 

Elia Kazan seemed more hurt by the criticism. Kazan greatly admired Brando — they had worked together on three films, i.e. A Streetcar Named Desire (1951), Viva Zapata! (1952) and On the Waterfront (1954) — but being accused of encouraging Dean to act like Brando was "really too ridiculous", he thought. In the following letter to Helen Bower of the Detroit Free Press (one of several critics who had written quite favourably about Dean and the film), Kazan defends Dean and with it his own direction. 

[New York]

March 22, 1955

Dear Miss Bower:

Thank you for your letter. The allegation about Dean was not concerted but was made in some rather disturbing places by people whom I felt know better.

Dean actually has a talent all his own and a sizeable one. He doesn't need to imitate anyone and was not imitating anyone. He admires Brando, as do practically all young actors today. In this respect I would say that he had excellent taste. Brando has no doubt influenced Dean to some extent but he has also influenced 100 others, just as Barrymore did 30 years ago, just as Cagney and Spence Tracy did 20 years ago. The thing about my grafting a Brando-like personality and set of mannerisms on Dean is really too ridiculous to answer. I supposed it was a way of speaking rather than a remark meant literally. I actually don't think he's much like Brando. He's considerably more introverted, more drawn, more naked. Whatever he is, though, he's not an imitation of anybody. He's too proud to try to imitate anyone. He has too much difficulty —as does any decent worker in our craft— thinking about anything except playing the part as written. Critics who say he's imitating Brando just reveal a naivete about acting, direction, and production.

I would love to see your review of the picture. I gather you liked it. It meant a lot to me and I was rather upset by Crowther's reaction in New York. The other critics here, however, liked it very much indeed and the picture is doing well.

Sincerely

 

Source: The Selected Letters of Elia Kazan (2014), edited by Albert J. Devlin  

Note: 
East of Eden was a big commercial success. Both Kazan and Dean were nominated for an Oscar (Dean posthumously) but didn't win. Of the four Oscar nominations the film received only Jo van Fleet won. East of Eden also earned the award for Best Motion Picture–Drama at the Golden Globes and Best Dramatic Film at the Cannes Film Festival. 

Elia Kazan and James Dean behind the scenes of East of Eden, below pictured with Julie Harris and Marlon Brando during Brando's visit to the set.