Gigante

I am a sucker for long, sprawling epics about history or social issues. Ben-Hur, Lawrence of Arabia, and Doctor Zhivago are films I could watch on repeat. Now we can add 1956's Giant to the list. It's one of the only films to tell the story about Texas and how the state transitioned from the old-fashioned cattle/cowboy era to the modern oil industry. I adored every minute of this three-hour and twenty-one minute feature. Yes, it's long but it is a film that has big, ambitious ideas and characters you'll come to know and fall in love with.....just as I did.

The film is based off an Edna Ferber novel. If you are familiar with her work, you'll know that her books capture social injustice issues such as racism. In her book this movie was adapted from, she gave us big ideas to think about along the lines of racism and women's rights. From the 1920's to 1940's, the Mexican Americans on the ranches were treated with contempt and just a tad better than slaves. Also, the idea of a woman coming into an industry dominated by men and speaking her mind freely was something nearly unheard of. Like the book, the movie tackles these ideas and rather successfully. After all, the early-to-mid 1900's were changing times for the Lonestar State. I think the screenplay, written by Ivan Moffat and Henry Ginsberg, captured the tone and spirt of her vast epic.

The film was directed by George Stevens. If that name sounds familiar to you, maybe you have seen 1951's A Place in the Sun or the lovely 1936 film, Swing Time. Stevens handsomely directed the film and put together a very worthy cast. In his long career creating tons of good movies, it's hard to believe that he only won one Academy Award. That was for this movie and he deserved it. This is one of those movies that stand the test of time.

Giant tells the story than spans over two decades. It tells the story of poverty versus wealth, along with racial discrimination and deep feelings such as prejudice. All of this is centered around one Texas ranch- The Reata. The Reata is ran by his cattle baron Jordan Benedict (Rock Hudson) and his sister, Luz (Mercedes McCambridge). They run a tight ship and treat the Mexican Americans on their farm with disdain. When Benedict travels to Maryland to buy a beautiful stallion, he meets the even more beautiful Leslie (Elizabeth Taylor). The two get married and Leslie moves to the ranch where she makes it a life goal to institute social changes. Then there is the ranch hand, Jett Rink (James Dean) who is jealous of Jordan's success. When he strikes oil, he instantly becomes a billionaire. Not just these central characters, but how will the entire family take in all of these changes?

I loved the performances in the film. This film garnished Rock Hudson his only Academy Award nomination. He has always been an undervalued actor, but I loved his performance. There was a sequence towards the end, a fistfight at the cause of social injustice, and that shows his capability. Elizabeth Taylor previously worked with George Stevens in 1951's A Place in the Sun and showed how talented she was. Even though she was not Stevens's first choice for this picture, she once again rose to elite level. Then we have James Dean. Dean had his career cut extremely short due to his untimely death toward the end of this film's production. Stevens had another guy come in to dub the actor's lines which may have been why the film took more than a year in post-production. He captured the distrust of Jett Rink very well and easily showed that money cannot guarantee happiness. You may recognize other faces here. Dennis Hopper as Jordan's son, Carroll Baker as Jordan's daughter, and Rod Taylor as Sir David Karfrey.

The film is so beautiful to look at. Cinematographer William C. Mellor gave the deserts of Texas its own beauty. I felt so alive and even romantic gazing at the Texan landscape. I truly felt transported to another time and place. The music by Dmitri Tiomkin fits the epic format easily with recognizable themes.

Ultimately, I really enjoyed the vast movie that is Giant. It's one of the few early movies that gives it due to social causes like racism and women's rights. It harshly criticized the way of Texan life. I found it ironic that many Texans actually adored the movie when it came out. But based off an Edna Ferber novel, of course these themes will be prevalent. Beautiful landscapes, powerful acting from the lead trio, and great direction are just some of the reasons to see the movie. The movie tackles multiple generations, so be prepared to fall in love....or possibly hate some characters.

My Grade: A

I'm no stick, but I have a colleague who is just ginormous, and listening to the guy eat is one of the reasons why I sometimes push away from the table. He sounds like he's death rattling when he eats potato chips.

Now, don't get me wrong, I think the world of this friend, but he needs to work a bit on the celery, breathe deeply between bites, and stop getting his fingers wet from slobber.

You're wondering where the hell I'm going with this, aren't you?

George Stevens' Giant is the cinematic equivalent of watching my friend eat snack food (and everything else that's not nailed or glued to the lunch table). It's so wheezy and falumpy and gasbaggish that, after three and a half hours of pork rinds and soap suds, you're ready for the movie-watching equivalent of a lap band around your stomach. Stevens takes so long to tell you that

a) Texas is a really big state

b) Ranching families are guaranteed to produce weird kids if the dad and mom are Rock Hudson and Elizabeth Taylor

c) James Dean sure could mumble up a storm

d) Oil rigs suck

e) Bigots suck more

When the credits rolled at our house, and Rock Hudson finally figured out that the future of Texas actually included Mexicans (shock!), I looked around at the wife and daughter. We all had that glazed gaze that comes from too much cinematic goo and grease.

Our breathing was labored, our guts were bloated, and our fingers were all slobbery

Burp!

George Stevens' 1956 epic "Giant" is the story of the Jordan Benedict (Rock Hudson), the male heir to one of the largest cattle ranching families in Texas. At the start of the film, we see Jordan traveling to Maryland to look at a horse he is interested in purchasing, There he meets Leslie, (Elizabeth Taylor) the daughter of the man he is purchasing the horse from (and the unofficial "owner" of the horse) and immediately falls in love with her. The feeling is mutual, so after an incredibly brief (two day) courtship, they marry and he brings her back to his ranch in Texas, Reatta. At first, life on the ranch is tough, particularly while dealing with Jordan's overprotective, no-nonsense sister Luz. (Mercedes McCambridge) Leslie soon adjusts, however, and the two of them start a family. Meanwhile, Jordan is at constant odds with one of his ranch hands, Jet Rink (James Dean) whom he always wants to fire, but is eternally protected by Luz. When Luz unexpectedly dies, Jet is ready to walk off the ranch for good, but discovers that Luz has bequeathed a parcel of the land to him. Partly to tick Jordan off, partly for his respect for Luz and partly so that he can have something for himself, Jett eschews Jordan's cash buyout and instead sets up a homestead on the land. Five years later, Jet strikes oil, and soon he is again at odds with the Benedicts, as Jet, having become one of the richest men in Texas, wants to buy out Reatta, while Jordan wants to keep the ranch for cattle raising, and most importantly – to keep it in the family. The next 15-20 years are spent raising their children and trying to cope with a changing family dynamic, one where the children may not want to adhere to the roles that have been pre-attributed to them, a struggle that is particularly hard for their son Jordan III (Dennis Hopper) because as the sole male heir, his dream of becoming a doctor is seemingly out of the question. "Giant" is about life, and the ever-changing role of the American family.

"Giant" is a very long film, (about three and a half hours) but this time frame is necessary because the story is so rich. Despite its running time, there are no pacing issues, and no real superfluous scenes. The cinematography is lush and rich (I never really thought Texas to be all that intriguing, but William C. Mellor's photography was exquisite. The performances by the principals were very good, particularly since they had to age 25 years in the film. This wasn't a mere makeup job, you could feel the aging in the way they carried themselves, and their facial expressions. James Dean in particular, perhaps because he had such a fascinating character, was stunning. Jet Rink is a complex character, and Dean really worked the role fantastically. I was also impressed, considering the overly idealistic Hollywood of the 1950's, that "Giant", while ending on a happy note, did not compromise its characters in any way to achieve its ending. Jordan for example, is typical old-guard Texas, and therefore looks down on Mexicans. When his son marries one, he has marginal acceptance and is always polite, but even after engaging in a fight to defend the honor of his grandson, he still expresses his woe that his grandson is who he is. Also, Leslie is an unabashed free-thinker who often challenges the Texas traditions, much to Jordan's chagrin. Throughout their years together however, she does not compromise her views and need to express them. I really liked this about the film, because it is rare for the time, particularly when the genre is melodrama.

I really liked this film, though when recommending it, have to caution because of the sheer length of the film. Watching "Giant" is an investment of time, but it is certainly a worthwhile investment. 7/10 --Shelly

George Steven's epic western GIANT, based on Edna Ferber's roman-fleuve about a wealthy Texas rancher household that spans over decades, rightfully won him a second Oscar for BEST DIRECTOR, but this is the sole trophy out of the picture's 10 nominations (although Mercedes McCambridge's coattail nomination is a fluke in hindsight, she has nothing to wield but a frosty front), mostly lost out to Michael Anderson's less time-honored AROUND THE WORLD IN 80 DAYS (1956), another taint forever besmirches the Academy's credibility.

The couple under the limelight is Jordan "Bick" Benedict Jr. (Hudson), the said rancher and his wife Leslie Lynnton (Taylor), a socialite from Maryland, who must adapt herself to the a completely different lifestyle but never flinches from her modern view of treating their Mexican employees (yes, they are referred as wetbacks) with equal respect, which collides with Bick's more entrenched racist frame of mind, and this "progressive East Coast vs. traditional Western Inland" leitmotif maintains as the pillar of the film and later evolves into Bick's epic defeat of his paternalistic arrangement in relation to their three children. Throughout, it is Bick's glacial change of his old-world attitude that flourishes during all the long years, Rock Hudson gives an endearingly no-nonsense impersonation that not unlike his first name, becomes a bedrock of the film, a pretense-free Texan learns to brave a new world that beyond his widest imagination and eventually transmutes into a better person, a titular "giant" in the end, even he is beaten up for standing up for the right cause, why it is so inspiring because it is a personal victory, and means the world to them, good deeds must be carried out no matter how formidable adversity looks, who can refute that?

Taylor, on the other hand, dazzles in Leslie's bluff honesty and impeccable integrity that makes us root for her right out of box, Leslie's life orbit is less tectonic, but incredibly, both she and Hudson acquit themselves convincingly under their senior makeup, to parent fresh-faces like Dennis Hopper and Carrol Baker, and a strong sense of affinity between the two never get attenuated, not even during their not-so-infrequent spats.

Of course, the biggest selling point is James Dean in his final picture, although for sentimental reasons, he received his second posthumous Oscar nomination in the leading actor category, but his indecipherable upstart Jett Rink is a substantial supporting character in the whole picture, and he would be a shoo-in to win if he could have competed in the category where his character truly belongs, however, his name had already become too big a legend to be relegated at that point. His portrayal of Jett, emphatically registers a false layer of insouciance that defies operatics, vaguely masks his touching vulnerability and troubling uneasiness towards the unattainable object of his desire, Leslie, whose footprint inadvertently strikes gold for him, but whose heart he can never conquer.

Thus, it is the black gold that sounds the death knell of the Western genre as we know it, Stevens and DP. William C. Mellor employ stunning imagery to exhibit the burgeoning modernization that invades the vastness where materialistic gain lies beneath and beckons, as an answer to the prior un-warped long shots which retain the Old West in its most august splendor, the cattle herd sequences, or the majestic take on Benedicts' singular mansion for instance, but at the end of the day, it is the story's sagacious message that transcends its racist, patriarchy milieu, and makes GIANT a culturally, historically and aesthetically significant American tome that takes us through an elemental learning-curve of open-mindedness and righteousness that flouts the specious "winner takes it all" precept, without forging its tangy nostalgia for a bygone era.

This has recently played on Turner Classic Movies, and so they have been playing a short promo on the film. However, I disagree with the critics' assessment that this is a man versus woman film. Instead, this is a film about the pangs of old Texas giving birth to new Texas. Rock Hudson plays the young patriarch of a Texas ranching family, Bick Benedict, in the 1920s who goes to Maryland to buy a colt. He is instantly smitten with one of the daughters in the family (Elizabeth Taylor as Leslie) , in spite of the fact that she raises his Texas ire by saying things such as Texas was stolen from Mexico! Taylor's character is already spoken for, but she throws over her intended and she and Benedict marry on a whim.

Adjustment is hard for Leslie. The Benedict ranch is sprawling but devoid of Maryland's natural beauty. Bick's sister Luz runs the house and is not going to give that title up to some delicate East coast beauty. And when she tries to help the Mexican families that live on the ranch, she finds her husband angry with her. Ranch hand Jett Rink (James Dean in his last film role) falls madly in love with Leslie who just doesn't see it. Meanwhile Luz has always loved Jett, and that love later greatly complicates the Benedicts' lives in a very unconventional way.

Like I said, this is no man versus woman film. This is initially east coast liberal civilized values versus the rough and tumble values of what is still the Texas frontier in many ways. And it is the story of a family over 30 years as Texas changes in its values and what is important in its industry. For example, cattle ranching gives way in importance to the petroleum industry. As for changing values, Bick changes from a man who really doesn't see the Hispanics as human beings to somebody who literally takes a beating to defend the honor of one decades later.

Highly recommended as a film and as a showcase for the talents of Rock Hudson, Elizabeth Taylor, and James Dean. Dean had other good showcases for his talent, but I feel Hudson and Taylor - in spite of her two Best Actress Oscars are both remembered too much for their soapy roles and not enough for their acting skills. Highly recommended.