- Sep 22, 2013
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Jett Rink is a fictional American character from the iconic George Stevens Texas-epic Giant, starring Elizabeth Taylor, Rock Hudson, and James Dean (all 'giants' in cinema!).
In the film, we see a broad-strokes about the elegy and emotion and adventure of profit and passion in Texas, a state renowned in the USA for great ambition as well as unique mannerisms. James Dean portrays the eccentric Jett Rink with a great flourish. Rink is a humble field-hand/servant on the giant ranch of Jordan Benedict (Rock Hudson) who is about to marry the lovely socialite Leslie Lynnton.
Rink is often at odds with the 'normal' Texan world/culture of 'professional courtesies' though he harbors a secret deep affection for the 'ideal' of capitalism in his heart. When Rink strikes it rich after an oil-discovery, he becomes a 'cliched' Texan fat-cat and we see 'shades' of empathy in an iconic American cinematic character who is at the end of his life 'brooding' about the tragedy of lost innocence during the process of incredible wealth-acquisition.
Rink obviously symbolizes American ambition-sentimentalism and can be compared to Bobby Deerfield.
We might want to 'place' Rink in the 'pantheon' of great American fictional characters to better appreciate/evaluate the 'evolution' of aesthetics/ideals in capitalist America.
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In a young Rink, we see all the dustiness and individuality typical of a daydreaming Texan.
Rink's rise to fortune/fame offers us an offbeat glimpse of the 'aesthetics' of capitalism, which is what director George Stevens wished to 'romanticize' or even 'eulogize.'
The richer-and-older Rink is a man of cliches and luxuries, but we see shades of regret and self-reflection, and Dean portrays this complete evolution perfectly. Rink is simultaneously imaginative and deprecating.
Whether or not you're a fan of capitalism-culture, you have to admit that the dizzying 'mosaic' of media and advertising for capitalism makes of incredibly varied imagery regarding 'idealizations' of individualism and inquisitiveness. We see very contrasting images of daydreaming cowboys (perhaps representing Sunoco) and intellectual-radicals (perhaps representing OPEC) contoured as 'diplomats' of 'fashion labyrinths.' This is capitalism.
The iconic American-capitalism aesthetics TV series Dallas looked at the customs and couture of the ambition-textured city of Dallas (Texas) and why Americans seem fascinated by images of 'fortune splendor' and 'ambition romance.' This is why Jett Rink is such an Americana character --- capitalism is such an 'experiment.'
When you pick up a copy of the funnies-section in the newspaper or read a comic book about a superhero or see a child's-doodle about a fantasy-imp/character, you get the impression that human beings are stimulated by 'figures' who symbolize 'youthful play' and escape, and this is the 'creativity' that Jett Rink essentially embodies (whether or not you think that's juvenile or youthful for 'capitalism-consciousness'). In other words, in Rink we see a 'portrait' of American/capitalism sarcasm.
The Egyptians boasted King Tut and Cleopatra. The Romans boasted Caesar and Antony. The British boasted Arthur and Merlin. We Americans hoist 'psyche-figures' such as Anakin Skywalker, Tom Cruise, JFK, Billy the Kid, Holden Caufield, and Jett Rink. In other words, in Rink, we see a 'visage' of American/capitalism diarism --- whether that's good or bad.
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In the film, we see a broad-strokes about the elegy and emotion and adventure of profit and passion in Texas, a state renowned in the USA for great ambition as well as unique mannerisms. James Dean portrays the eccentric Jett Rink with a great flourish. Rink is a humble field-hand/servant on the giant ranch of Jordan Benedict (Rock Hudson) who is about to marry the lovely socialite Leslie Lynnton.
Rink is often at odds with the 'normal' Texan world/culture of 'professional courtesies' though he harbors a secret deep affection for the 'ideal' of capitalism in his heart. When Rink strikes it rich after an oil-discovery, he becomes a 'cliched' Texan fat-cat and we see 'shades' of empathy in an iconic American cinematic character who is at the end of his life 'brooding' about the tragedy of lost innocence during the process of incredible wealth-acquisition.
Rink obviously symbolizes American ambition-sentimentalism and can be compared to Bobby Deerfield.
We might want to 'place' Rink in the 'pantheon' of great American fictional characters to better appreciate/evaluate the 'evolution' of aesthetics/ideals in capitalist America.
====
In a young Rink, we see all the dustiness and individuality typical of a daydreaming Texan.
Rink's rise to fortune/fame offers us an offbeat glimpse of the 'aesthetics' of capitalism, which is what director George Stevens wished to 'romanticize' or even 'eulogize.'
The richer-and-older Rink is a man of cliches and luxuries, but we see shades of regret and self-reflection, and Dean portrays this complete evolution perfectly. Rink is simultaneously imaginative and deprecating.
Whether or not you're a fan of capitalism-culture, you have to admit that the dizzying 'mosaic' of media and advertising for capitalism makes of incredibly varied imagery regarding 'idealizations' of individualism and inquisitiveness. We see very contrasting images of daydreaming cowboys (perhaps representing Sunoco) and intellectual-radicals (perhaps representing OPEC) contoured as 'diplomats' of 'fashion labyrinths.' This is capitalism.
The iconic American-capitalism aesthetics TV series Dallas looked at the customs and couture of the ambition-textured city of Dallas (Texas) and why Americans seem fascinated by images of 'fortune splendor' and 'ambition romance.' This is why Jett Rink is such an Americana character --- capitalism is such an 'experiment.'
When you pick up a copy of the funnies-section in the newspaper or read a comic book about a superhero or see a child's-doodle about a fantasy-imp/character, you get the impression that human beings are stimulated by 'figures' who symbolize 'youthful play' and escape, and this is the 'creativity' that Jett Rink essentially embodies (whether or not you think that's juvenile or youthful for 'capitalism-consciousness'). In other words, in Rink we see a 'portrait' of American/capitalism sarcasm.
The Egyptians boasted King Tut and Cleopatra. The Romans boasted Caesar and Antony. The British boasted Arthur and Merlin. We Americans hoist 'psyche-figures' such as Anakin Skywalker, Tom Cruise, JFK, Billy the Kid, Holden Caufield, and Jett Rink. In other words, in Rink, we see a 'visage' of American/capitalism diarism --- whether that's good or bad.
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