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And you’re even thinking about Mineo himself, the character’s he’s running away from, as if Plato is all grown up, still gorgeous but manlier, and now totally deranged. And yet, you still feel for him, you still find a point of identification.There’s something both enigmatic and relatable about Mineo.To some, he was viewed as frozen in time, forever that teenager, a relic of the 1950s.Of course he absolutely was not that but as often in Hollywood – they don’t like their child stars to grow up, even if they grow up into fascinating actors.But kids related to that heaviness; that their youthful concerns could be considered important in an adult movie aimed at them. has a terrific opening rumble sequence) the movie is potently brutal and Cassavetes is really, really believably mean until he breaks and future director Mark Rydell is especially sociopathic (the dialogue coach is credited to Sam Peckinpah).
co-star Dennis Hopper famously and frequently has been quoted saying a version of this – that Dean’s acting style was in one hand, Marlon Brando saying, “Fuck you!
He also wanted to play Michael Corleone – with his Sicilian heritage he found himself exactly suited for the story. The film was considered a low rent trashy curio, now something of a cult classic, though Mineo was given some fine notices (as he have).
He is brilliant in the picture, which lives in a kind of Warholian universe, downtown pulp with a gritty artiness to it – you could imagine the Velvet Underground showing up somewhere or Edie Sedgwick walking into the frame.
But in the ’50s and like Dean, Mineo tapped into the restless hearts of teenage culture, and not just who they crushed on or who they listened to, but their troubles, their delinquency, real or fantasized about, their need to be heard, to be taken seriously, even if by threat or melodrama.
Watching Mineo’s co-star and lead, John Cassavetes’ very serious 18-year-old in , we’re actually watching a very serious actor in his late 20s playing a teen.
After all, he like a teenager, even younger than his own years at times, so much that in the picture, the boys call his character “Baby.” In many ways, he’s the most credible cast member, just as he is in a smaller role in Robert Wise’s , in which he plays the more believable New York street youth to Paul Newman’s Rocky Graziano.