Warhol’s Salacious Classic Short

DATELINE: Nothing Ventured?

  Big Moment on Film.

All good things must come to an end, and there may be no more edgy way to end another collection than with our first viewing of Andy Warhol’s 1963 salacious film called Blow-Job.

No one knows whether this was pure acting, or impure acting. Since more orgasmic porno is faked anyhow, we are sure that Warhol was keeping his secret. There is more edginess here than in a modern 21stcentury real thing effort.

Don’t get your knickers in. a twist. This film is the 27-minute version, and it is silent as well as black and white. If there had been sound, we may have accused the star of over-acting his role center-stage.

The star was a 24-year old actor who resembled James Dean, perhaps a fetish of Warhol. DeVeren Bookwaiter went out to do Shakespeare on stage and even appeared in the legit movie The Enforcer. We aren’t sure how many jobs he won as a result of his Warhold notoriety. We never see the costar.

The film starts slow before its inevitable climax. We suspect that foreplay may have enhanced the length—er, of the film. We see the main character only from his shoulders up, in a stylish leather jacket standing before one of those ubiquitous brick walls of New York.

Occasionally he looks nervous like he may hear the police siren closing in. For the most part, he moves around the film frame, and Warhol does not. So, the star often ducks into facial shadow, so we cannot see his bliss.

This could be a farce, or just a sex romp.

Now and then he throws his head back into the light of ecstasy. You cannot hear him, but several times he seems to say the word, “Yes,” and near-on to 17 minutes he may shout out an epithet beginning with F.

The film goes in an out of a white blank, followed by the editor dots. It was either a second helping, or retakes by Warhol. His camera seems to be having more fun the actor in question.

You know you are approaching the end when he throws up both hands and rubs his head. The real tell-tale sign that our break is near, he lights up a cigarette. On the whole, the film is fairly boring. Perhaps you had to be there.

We think he said, “thank you,” near the end as smoke got in his eyes.

Well, that’s art for you.

Madman & Rebel: Dennis Hopper

DATELINE: Don’t Forget Drunkard!

 He’s Not in this Doc!

Dennis, Our Favorite Menace!

A semi-interesting documentary on James Dean contemporary, Dennis Hopper, whose career went through many incarnations, is allegedly told by his “co-conspirators”! The film on his life is called Along for the Ride. With friends like the intense Hopper selected, he was in for a long run toward Doom.

Hopper underwent many transformations in his life—and it mirrored his career, or vice versa. He started out as an All-American wholesome-looking boy, became a slimy and bushy-bearded druggie and drunkard, and ultimately became a haggard and highly respected character actor. He survived, which is the truly amazing fact.

Like most under-educated people in Hollywood, Hopper was sensitive to his intelligence and self-education. The film ignores his youth and early years—and picks up with his personal assistant in 1970 who owns most of his correspondence and memorabilia. He is the power behind this portrait, which really puts emphasis on his directorial ability in The Last Movie, a big flop. Having made a fortune with Easy Rider,his counter-culture friends and attitudes were given free-reign in the 1970s Hollywood-in-transition.

Hopper was never helped when friends like Satya keep telling him he’s a genius. Inevitably, his Last Moviebecame Waterloo in Peru. Hopper was a colorful show-biz personality, but he was notOrson Welles. The low-lifes and sycophants around him convinced him otherwise.

You won’t have to see The Last Movie to know from this picture that it is an unmitigated disaster. When working on Apocalypse Now, Marlon Brando refused to do any scenes with him. He had told the most powerful Hollywood moguls to go “f” themselves. He was on Ruination Row in a self-constructed prison.

There is a passing nod to his mentor and progenitor, James Dean, but really he was on his own trip far from his rebel youth movies.

Blue Velvet resurrected him. He always felt he was personally difficult, but not professionally so. In the end he made so many movies that any idea that he was blackballed cannot be believed.

Hopper’s right-hand man and behind-the-scenes acolyte does his job to the bitter end.


Resurrecting James Dean

DATELINE: Dug Out of the Film Mausoleum

Two hundred years ago Resurrection Men stole bodies out of graves and sold them to medical students.

Today Resurrection Men steal movie star images out of film archives to sell to fans. The body of work of James Dean is about to be dissected by film students.

A generation ago we wondered if old clips of TV and movies could be merged into a new script with old, dead actors as stars. It seemed fantastic to think James Dean could, at long last, costar with Marilyn Monroe.

Well, we have reached one plateau, or perhaps hole in the ground. It appears that James Dean, with permission of his greedy surviving relatives, will rise from the dead thespian hall of fame.


A script about some Vietnam-era characters will cannibalize a few of his past scenes, dubbed with a sound-alike actor, to create, without his knowledge or permission, a new movie: yes, his fourth leading role, sixty years after he won Oscar nominations for East of EdenandGiant, will likely result in no Oscar this time.

Some fans are incensed, and others are utterly perplexed at how such a task can be completed.

Can Dean be colorized, animated, and computer-generated into a character he never heard of, studied, or believed he could depict?

It won’t matter because the notion is out of his hands. It is a new-fangled out-of-body experience. It might have driven James Dean out of his mind or sent him speeding off in a Porsche to his doom.

Nearly all of his costars are gone, and a few who lived long enough to entertain the misuse of their images in a post-death world, have left wills and other documents that will forbid any such action. Dean, alas, died long before such a notion was possible.

Dean will costar with other actors he never screen-tested, and it is impossible for him to create chemistry. He will be like a wooden statue in a department store window. Oh, his costars may be able to respond to his behavior, but he will be denied any chance to upstage them.

The film will be called FindingJack, and it’s entering pre-production.  It’s more like Finding Jack Spratt, as he is an invisible and hidden carbohydrate in a world of spaghetti film stock.

Jan Merlin: Statuesque Among the Stars, 1925-2019

  Jan with his Emmy Award!

My co-author and most important literary collaborator has gone from this world.

Jan Merlin might be recognizable to a generation or two of film and TV fans as the villain who populated a hundred TV shows. He made movies with Ann Sheridan, George C. Scott, and Woody Allen. He starred in two 1950s TV series, The Rough Riders—and Tom Corbett, Space Cadet, with Frankie Thomas.

A veteran of the Navy in World War II, Jan went from the military during the big war to the Neighborhood Playhouse where he learned the craft of acting, though he had many talents. He always thought his acting fame was a lesser role. He was always the antagonist to some western star, or some dubious military man.

Yet, despite playing dastardly villains almost constantly, with his Aryan looks (Polish American out of New York City), he was a genteel man with a sense of art and brilliantly self-educated. Like a generation of those who were never able to attend college, he more than made up for it with a dozen books to his credit. He loved fiction—drawing  upon his movie background, or his experiences in Japan after the war.

Together we did a half-dozen books of which I am most proud. We did only one work of fiction, The Paid Companion of J. Wilkes Booth. Most of our Hollywood history tales were based on his insider knowledge of how a set work, from knowing nearly every star of the 1950s and 1960s. He laughed they were all “six feet tall,” no matter what the truth might be.

We wrote about Boys Town, Billy Budd, Reflections in a Golden Eye, among other films, giving a unique perspective on daily life during the studio shoot. He knew Brando, Taylor, Clift, James Dean, in ways that others could never understand. He threw James Dean out of the Pier Angeli house at her mother’s request.

When we did not write books together, he gave me editorial and research insights for my books on James Kirkwood and Audie Murphy. Oh, he knew them too.

Now he is gone, irreplaceable in my life and in Hollywood history, with all those insights and memories. He had stories he would not tell about the damaged figures of show business. He took those secrets with him, as much as I wanted to hear them. He was loyal to the memory of the business he loved and hated.

Once I called it ‘Tinseltown’, and he reprimanded me: it was a cherished professional location, not a frivolous tabloid fantasy to him. He introduced me as his “son” on occasion, which amused me–and made movie star Frankie Thomas look at me with quite an impression.

Goodbye, dear Jan. I am so lucky to have known you and to have worked with you. I have been left a treasure trove of his life, and maybe one day I will tell what he told me. He was my touchstone to a bygone era and glorious movie history.

Night Tide & Mermaid

DATELINE: Dennis Hopper Fantasy

How wrong could a movie genre be? Try Night Tide,a strange little low-budget movie from 1963. It stars Dennis Hopper as a sailor who meets a sideshow freak star Mora, the mermaid. The question is whether this creature is like a werewolf—she turns back from a lovely woman to a part-time fish with the full moon.

Now, this hardly qualifies as a horror movie unless you are slightly off-kilter to begin. It does qualify as a movie direction for Dennis Hopper that is off-the-beaten path of Hollywood mainstream.

For all his traditional looks, Hopper was a true rebel to the system, and his selection of $25,000 budget movies indicated his went against all Hollywood norms in the early 1960s. It likely spoke volumes about where his buddy James Dean would have gone, had he lived.

Yet, it now seems like a marvelous jazzy film noir choice, daring and delightful. Mora (Linda Lawson) lives over a merry-go-round and special effects are more suggested than actual. She is hooked into some middle-aged harridan who may be queen of the gypsies, Madame Romanovitch (Marjorie Eaton).

Hopper was absolutely stunning in his little sailor outfit, out on shore leave—by himself. That, in itself, is an odd plot twist. The seaside arcade he visits and quite cosmopolitan beatnik bar are a scream. We love the patrons with dark glasses at night inside a bistro while a jazz quartet plays David (Laura) Raksin’s film score.

We almost expected him to walk into a gay bar of the 1950s, but that would mean mermen, not mermaids.

Curtis Harrington wrote and directed this small masterpiece, which channels Edgar Allan Poe with a twist.




The Lonely Man, 1950s Latency Period

DATELINE: Another Oddball Western

not so lonely Tony Meets Jack at Gay Bar?

The Western lone rider is the loneliest guy this side of the Maytag repairman in the 1950s.

After appearing as the despicable gunfighter in Shane, there was only one place to go for Jack Palance: revisionist hero from hell. So, he was cast as the good guy in The Lonely Man. This was a trend, as Ernest Borgnine had just transformed into an Oscar-winner after a villainous streak. Rod Steiger was around the corner.

In 1957, the way to do this was to play either a wronged teenage son or a well-meaning father. The James Dean phenomenon was at work: so, they cast Anthony Perkins as the fey son, long separated from his gunslinging father (called an ‘aging’ gunfighter).

Perkins plays it so silly as rebel with a cause that James Dean would have laughed. He likely would have laughed too that mid-30s Palance was considered aging as a father to mid-20s Perkins. It could have been Tab, but Tony will do.

Yet, that was the style of those days. Daddy didn’t know best, but he tried.

And, you use the baritone country music of Tennessee Ernie Ford instead of Tex Ritter.

Some bad guys are unremitting: Neville Brand, Lee Van Cleef, and Elisha Cook.  They are planning on gunning down Palance first chance that comes their way. Elisha Cook’s revenge comes after Palance gunned him down in Shane.

Brand would turn goodie on TV within a few years, but it would take Van Cleef more than a decade to turn to goody-two-shoes roles. All are in their evil-doer prime here.

If you have a strong sense of homoeroticism in this movie, you are not paranoid. Palance “picks up” his son in a bar for the price of a drink. Perkins boasts anyone can have him at those prices. These guys are all interested in their male on male relationships over all else.

As a piece of Hollywood Western ersatz history, this film is a true curio.


Windy Conditions for Orson Welles

DATELINE: Citizen Kane’s Bookend

Orson's Last

It’s disorienting to see a new movie that is 35-years old with stars long dead: John Huston, Mercedes McCambridge, Edmond O’Brien, Paul Stewart, and all the usual Orson Welles friends. He also included new discoveries in his films like Bob Random and Rich Little. Orson called it The Other Side of the Wind.

The movie is a mockumentary of a movie made on the last day of the life of a legendary film director named Jack Hannaford.

Huston is Hannaford, playing God again, or the devil to Welles as observed by Susan Strasberg (daughter of James Dean’s acting tutor Lee Strasberg) as she plays a carbon copy of film maven Pauline Kael.

As the insider look at Hollywood develops, those in the know will begin to recognize that Johnny Dale is Jimmy Dean, and that the director appears to be a combo of Nick Ray and George Stevens, the men behind the films Rebel Without a Cause and Giant.

Indeed, two of Dean’s co-stars have roles in the film: Dennis Hopper and Mercedes McCambridge. Our money is on Nick Ray—whose ambiguous sexual relationship with stars seems to be at the heart of the Welles picture. He is giving us the ultimate insider look.

Welles never used nudity in his films until this final movie: he plays to the times, psychedelic sex, which now seems dated. The film made by Johnny Dale is sandwiched within and around the life of Hannaford who dies in Dale’s Porsche Spyder, a copy of Dean’s death car.

All the usual Orson touches and themes are present: betrayal of people, rather than principle. There are no principles in Hollywood. He also has a field day ridiculing all those New Wave European directors.

Movie magic is everywhere because Welles could do so much with so little—and scenes seem seamless, even if shot with body doubles three years later.

Critics claimed he never wanted to finish the picture because it was his raison d’etre. It was also his Swan Song and his testament to Hollywood. It’s brilliant and fascinating with every step of the much-sought divine accident that Welles believed essential to film inspiration. Highly recommended.

Children of Giant: Mexican POV in Marfa

DATELINE: Unavoidable James Dean Strikes Again

Children of Giant Children of Giant!

If you know anything about our Hollywood history books on the story behind making movies, you know that we would be hot on the trail of George Stevens’ 1955 classic epic Giant. 

Made On location in Marfa, Texas, with Elizabeth Taylor as an early feminist in 1920s Texas, and Rock Hudson as the laconic cowpoke who owned Reata, a cattle ranch, you are overwhelmed with James Dean who stood out on the landscape,

However much the director wants to make this a movie about the Mexican discrimination in Texas, James Dean is there to steal the movie. He dominates everything in the fascinating film called Children of Giant.

Actor Earl Holliman is still around to give his perspective, and Jane Withers appears to have declined to participate.

Director Stevens’s son, notable Hollywood producer George Stevens, Jr., offers many insights. They say little about Dean.

It was the film James Dean died making. It was a Western that showed the yellow rose of Texas was a yellow streak of Jim Crow laws against Mexicans. The children loved him, and they saw him as someone special and caring.

Today Marfa’s racism almost seems quaint, next to the horrors being inflicted on Mexicans under Trump.

New York historical novelist Edna Ferber was spot on depicting wild cat billionaire Glenn McCarthy (aka Jett Rink in the movie and book). James Dean’s makeup and style mimics McCarthy in his late middle-age.

Dean is remembered fondly by the Mexican children and adults whom he befriended in Marfa, Texas. Indeed, if you are looking for stories about Dean’s public urination in front of town onlookers, or even the tale of Dean going after director Stevens in a fight over his performance, you will find only slight nods in that direction.

Yet, as a social history document about a social history movie, you could not find a more spot-on documentary. It features townsfolk giving their insights and sharing their unusual photos.

It is nirvana for a movie maven who delights in the behind-the-scenes activity. This little PBS documentary packs a wallop and a message from the children of Marfa in 1955. Unfortunately, James Dean is still the big draw. George Stevens and Edna Ferber could not avoid him then or now.

 Dr. William Russo wrote The Next James Dean, which is available as an ebook and print work on Amazon.


Actor/Icon James Dean’s Sex Life in Speculative Terms

dead deanDATELINE:  Don’t Hold the Hot Sauce


The latest salacious book from Darwin Porter and his partner in crime Danforth Prince is a kiss and tell sexography on James Dean.

Tomorrow Never Comes is 750 pages—a big one, a war and piece on James Dean. It seems epical to depict every sexual encounter of the long-ago star of Rebel Without a Cause and East of Eden. The authors turned over every rock, and every Rock Hudson, to find the sex life of a 1950s movie star.

We are sure they missed a few trysts.

We can’t recommend the book to anyone with moral values. Dean, in this tome, is a switch-hitting, all-purpose, never turn them down, kind of guy. No detail is off limits. If you want to know every sniff, leer, and last drop, this is your kind of book.

We tend to doubt many of the anecdotes. After all, everyone involved is dead—and many probably wish they could come back to refute the dirty deeds. With occasional anachronisms, the writers make odd errors—suggesting “gay” was a common word in  sex culture of the 1950s. It wasn’t.

Our admiration for the few people who seemed to turn down a chance to bed, or not bed Dean grew in the miasma of endless assignations. If he did all they attribute, he never had time for much else.

Names are dropped faster than trousers. The book does reveal some interesting tidbits of a nonsexual nature—but you will be covered in slime by the time you find them.

We presume this is the end-all of James Dean books—until someone discovers he was a monk who never had sex with anyone.


Another Shot at James Dean Sixty Years Later

DATELINE:  James Dean as Backseat Driver

LIFE is unfair. Not life in general, but the 1950s magazine. It is the title of the latest attempt to depict James Dean, based on a couple of icon photos.

When you have a couple of offbeat artists like James Dean and Dennis Stock, played by Dane DeHaan and Robert Pattinson, it’s hard to tell where life begins and the movie ends.

If you were expected the fictionalized tale of Dennis Stock’s friendship with Jimmy Dean, you will be about as blindsided as Jack Warner’s friendship with James Dean. Warner is truly unlikeable in this movie—and so Ben Kingsley shines here.

There is no friendship between the photographer and the movie star. Each had mercenary and power trip reasons to team up for a few pictures at the Indiana farm and in the noir of Times Square.

The film is a calculated slice of 1950s Americana, and for that reason it is not likely to appeal to people interested in sex scandals (the latest involve Dean and Brando). This movie is surprisingly heterosexual in its chasteness.

It likely is not a movie to win devotees and repeat viewers. It is well done, but lacks a certain element to make it special as art. Depicting two alienated and calculating artists (Dean and Stock) does not make them likeable.

Director Anton Corbijn provides us with verisimilitude in a manner of speaking. DeHaan does not look much like Dean, being too soft and too doughy. Dean was wiry, but DeHaan has caught the slouching and mumbling better than anyone else, except Dean himself.

Pattinson again gives himself a thankless role as an ambitious man. But the two actors might as well be in separate movies. Therein is the the secret of the movie.  Dean was always in his own world, and so is this film. Yes, we recommend this for being unlike all the other Dean biographical movies.


James Dean Died 60 Years Ago Today

DATELINE: A Small Tribute

Featured image

Would the ultimate Rebel Without A Cause actually be 84 today if he had lived? It is unlikely he would have survived the 1960s or the 1980s with his lifestyle.

Yet, we still think of his eternal adolescence, painful youth, and promise lost.

This week as a tribute to Dean we decided to give away copies of our caustic biography of the star, THE NEXT JAMES DEAN. The book featured some insider knowledge of Dean never published before—or since. One fan accused us of snapping a photo of his dead body for the cover image.

Then we took on all the imitators, clones, and clowns, who tried to emulate James Dean. Some were guiltless victims of studio publicity, but many went slightly bonkers trying to emulate him.

Dean made ten times the number of TV shows as his movies. And, most fans probably have not seen hours and hours of his live TV performances. Some are stunning, years ahead of their time.

Few fans know that ghoulish Alfred Hitchcock decided to film one of his seminal suspense scenes at the site of Dean’s deadly car crash. Yes, that desolate stretch of highway is where Cary Grant is chased by a crop duster in North by Northwest. Well, it’s actually a model, a drone by today’s standards.

Fans may not know that the same stretch of road is thought to be haunted by the ghost of Dean and his mysterious and missing death car. Each year on September 30th, around 6pm in the sunset, you can hear a sports car racing down the highway, but end up in a crashing sound. It is the ghost car of Dean.

Fox News is now reporting the car has been found, hidden away behind a false wall to prevent it from killing new victims.

We thought Dean was deader than a door-nail by now. One of his few surviving contemporaries thinks he won’t last. Yet, when we put our e-book up for free taking in honor of James Dean, about 300 fans downloaded our testimonial book. We were delighted.

There were no strings, catches, or tricks. We just gave the book away to dedicated fans. We think Jim Dean of Indiana would have approved.

See James Dean Before He is Lost in the Mists of Time



After viewing the Joshua Tree 1951 movie, we were alerted that on YouTube is a tribute to James Dean on his 82nd birthday in February.

We are loath to take in amateur video compilations, but here we came to realize is something far more professional and brilliant, and it’s available to everyone on the Internet.

ZmaXcharmvill3 is the poster and creator. And the five-minute video has all the earmarks of careful choreography and judicious use of the hundreds of Dean photos and film clips that permeate the blogsphere.

With music by Ryan Star, the tune “Losing Your Memory Now,” at first seems odd—but becomes crystal clear that we are losing James Dean in our collective memory. With books and videos like this one, perhaps he will linger with us a few more years.

Selecting nearly all the quintessential images of Dean, they pop up all around us, showing both Dean’s stunning beauty and sensitivity in a kaleidoscope of familiar and rare images.

By the four-minute mark, we begin to see the acting chops that knocked others off the screen and began a new generation of stylistic performances that linger today among new young actors who may not know how much they owe to James Dean.

ZmaXcharmvill3 uses a color screen test of Dean in full hypnotic mode, looking directly at us—and at each corner of the screen as his life flashes away in swirls of blue smoke.

The director has caught Dean’s essence and provided us with another capstone performance as he plays himself one more time.

With the anniversary of his death by car crash on the horizon at the end of September, we may want to take a few moments to ponder the incredible force that Dean displayed in a few short years and too few movies.

This video is worth every second.

If you want a sense of James Dean’s full impact, you may want to read THE NEXT JAMES DEAN, a look at the original star and all his imitators over the next 25 years. It’s available on Amazon.com in both softcover and e-book versions.

Go East of Eden to the Land of Nod


 DATELINE: Homage to the Movies


With James Dean fresh in our minds in the person of James Preston in the kinky homage called Joshua Tree 1951, we thought how long it has been since we actually looked at James Dean the Original in one of his three major movies.

A few years back we had written a book on the subject of James Dean, one of several hundred tomes of varying weight and importance on the actor. Ours had the distinction of protected interviews with those who knew Dean and would not speak openly. It damned the book for its wink and nod. We sliced and diced the dozens of imitators.

So, we feel we have an interest in the rebel icon that transcends most fans and took a look at a new DVD version of East of Eden, the first major Dean role and the one that catapulted him into the stratosphere.

James Dean did not start quite at the top, but he was not a bottom feeder either. When Elia Kazan handed him the reins on a key role in an important movie, there is no doubt or worry that the young Hoosier actor was in charge.

For decades we have seen an army of young actors all in humble imitation of the original. And now, as we look at an actor who’d be over 80 today, we tried to see him freshly.

Dean, at once, seemed too old and yet too young in the part. He again struck us as diminutive, almost elfin in size, not so threatening, but smaller, like visiting a childhood house that once seemed immense.

Today every actor from two or three generations plays his role in the Dean mode. But, here, he is the only performer throwing away lines, bobbing and weaving away from the camera and fame, thereby stealing every scene.


His contemporaries did not know what to make of him as a psychological study and certainly did not think much of his work as a professional. They seem exasperated in this movie and work hard to keep the verisimilitude, which gives the film something of an unusual patina.

In scenes with Jo Van Fleet as his mother who abandoned him as an infant for a career as the madam of a brothel, Dean and Van Fleet seem almost to mimic each other’s genetics to create a sense of mother and son separated since birth.

There are moments in the film that make it timeless and memorable, even so many years later, after so many viewings.


We again give a nod to James Dean.


 You may read THE NEXT JAMES DEAN about the original and his clones. It’s in softcover and e-book on Amazon.com.






Joshua Tree 1951 Chops James Dean Down to Bite Size




DATELINE: Joshua Tree 1951 & James Dean


We cannot tell a lie: this movie falls atop the James Dean legend with the splat of Godzilla meeting Bambi. The trailer gives a full sensation.


After years of teasing, the black and white art film that depicts an impressionistic version of James Dean hits the streaming market like Dean taking a public leak on the set of one of his movies.


Finally there is an arty biographical movie that does to James Dean what he did to art. From the opening and disquieting images of “The Human Ashtray” to Arthur Rimbaud’s bedroom, director Michael Mishory ties Dean into some heavy-duty angst and some lightweight Hollywood orgies of the early 1950s.


We first saw a trailer several years ago and have been teased endlessly about the film’s ever-postponed premiere. Now it has arrived on DVD with little fanfare outside of a Mexico theatrical showing.


As director James Franco learned with his towering small budget biography of Hart Crane, period movies are difficult, but this flows with ease in its pre-rock world of Joshua Tree where the old rocks don’t change for centuries, or at least since Dean stayed there.


Evocation of film noir and beat symbolist poetry seems to knot Dean’s roots as the film jumps back and forth in an impressionistic frenzy.


James Preston’s James Dean comes across as preformed, waiting to hatch out of a chrysalis. As Dean biographical features go, this one tries to be the be-all and end-all.


With so many of those who knew Dean gone and a few ancient leftovers not spilling their beans, the film will have no challengers. Nearly 60 years after James Dean’s car crash into mythomania, this film gives us the 21st century Dean.  No doubt that Dean would find the latest followers still lagging far behind his path.


This film requires acceptance on levels that are not standard for typical movies. It’s far beyond Eden, planetarium explosions, and belligerent oil tycoons that defined Dean’s movie legacy. He’s now ready for his close-up on the ceiling of the Sistine Chapel.


We know that Jimmy Dean would have approved.


William Russo is author of THE NEXT JAMES DEAN, featuring insights from a few who were there and demanded anonymity for their stories. The book is available on Amazon.com in softcover and e-book formats.

Chris Brown Caught in James Dean’s Porsche



Chris Brown totaled his Porsche while avoiding the girlfriend of Manti Te’o. She was chasing him in the sleigh of Santa Claus with the Tooth Fairy driving like a demon.


Brown claimed that she was hand in glove with paparazzi pursuing him on the way to his imaginary work project with his mother supervising his probation.


The Porsche was said to be the evil twin of the James Dean death car, resurrected to kill another bad boy.


Rhianna said she was sorry she was unable to be in the car with him as she likes to be at the scene of every crash, accident, and catastrophe Brown orchestrates.


Though Brown contended there were dozens of witnesses, no one yet has been found to corroborate his fantastic tale of woe.


The notorious singer contended he was followed by murderous drones manned by the CIA. He said in recent months he has been the victim of a massive conspiracy, bigger than the coverup at Roswell.


Brown was unable to describe the man on the grassy knoll whose photoflash caused the singer to swerve off the road and hit a foam mattress that fell of a truck in front of him.


He said pictures would be available to the media just as soon as his press agent finished the photoshopping.


Brown told assembled multitudes of sycophants that the plot may be hatched by Lindsay Lohan who is desperately trying to deflect the heat from bad publicity.