[...] Perhaps Friend's most lastingly memorable piece was At the Drive-In (1959), a documentary recording of a screening of Rebel Without A Cause at a drive-in theatre in California. After some shots of cars arriving and young couples buying popcorn, the camera finds a spot and doesn't move. Unlike much of the distracted audience, it simply watches the screen for the duration of the film. THe Technicolor melodrama of Rebel seems so distractingly different when seen in greys, and Friend's detached presentation of the excitable youths on camera (and on the screen on camera) articulates the confusion of the generation gap almost as well as Nicholas Ray's masterpiece itself, but from the other side: by this point Friend was well into his fifties.