Les grands espaces

Alec West said spoke well in his post about the movie. It is one of my favorite movies for similar reasons. I would only add that I have used the film to illustrate different male and female values and styles. In Jim and Leech, and Buck as well, we see quite different versions of maleness: their world-views and how they present themselves to others. The contrast between Terrill and Hannassay is another interesting study. Pat and Julie offer a couple wonderful contrasts of female ways of being in the world. As a therapist, I have seen present day versions of these characters' values and behaviors time and again. My favorite character is Jim, but the character of greatest interest to me is Steve Leech. I admire his loyalty and find his transformation through his interactions with McKay well drawn.

I love movies, and this is as close to perfect, as it gets. First of all can, you imagine a movie with such a cast. Heston, Peck, Ives, Bickford, Connor, Baker, and Jean Simmons ( one of my favorite actors ). Throw in the scenery, the incredible musical score, and a plot with romance, and minimal violence, and you have a classic. On a home widescreen with the volume high, I am sure even compared to todays movies it is entertaining and ageless. As a footnote, I saw this movie years ago and it stuck in my mind. One day while listening to CBC radio on a call in request segment someone called in and asked for the theme from Big Country. It stirred me to track down a copy of the movie. I also like the story about Heston thinking of turning it down ( An Actor's Life ) since his part was secondary. His agent said are you nuts to turn down Willy Wyler. This movie led Wyler to cast him in Ben Hur.

When Jim McKay (Gregory Peck) stepped off the stagecoach in the open range of the West, Steve Leech (Charlton Heston) was already his excellent rival and adversary...

Steve - Major Terrill's strong right arm - was in love with the beautiful Pat (Carroll Baker) daughter of his boss, who intends to marry the innocent handsome Captain...

Soon than expected, McKay discovered a bitter blood feud between the Terrills, owner of a huge ranch, and the Hannasseys, simple mountain men..

Extreme hatred united the two families, the two cattlemen Major Terrill (Charles Bickford) and Rufus Hannassey (Burl Ives).

Julie Maragon (Jean Simmons) was a strategic factor in the conflict... She was the key to supply water... Both, Terrill and Hannassey wanted her part of land to have their cattle watered, but she always said 'no' to either... Why not to say 'yes' now to Jim McKay! Julie was touched by his honesty, a quality she admired in a man...

Jim, a perfect gentleman - suffering humiliation since his arrival to the big country - grew to unlike Pat's ideas and manners which were in a primitive set of values... He became aware of Julie as a sensitive woman, an understanding human being with great heart...

When Julie is kidnapped by the Hannassey, McKay goes to meet Rifus... He wins esteem and consideration from the old man but fails to refrain a hostile confrontation between the two selfish, inflexible old barons...

"The Big Country" is distinguished by its magnificent landscapes... The high, wide and impressive buggy ride spread out a lavish, sumptuous scale of the State of Texas as never has been carried to the silver screen..

The film is about land and its influence and power over people... A story that can occur everyday in every country, zone and family... The love, the hatred, the war for land, for power, for water rights... always for an asset!

Gregory Peck is outstanding as the calm anti-traditional hero, balancing a deed of bravery, strength and endurance...

Jean Simmons is a big leading lady at that time, big enough to the 'Big Country.'

Carroll Baker, famous as the thumb-sucking child-wife in "Baby Doll," is Charles Bickford's willful daughter, acting according to his law and dictate...

Charlton Heston confirms a favorable impression by giving an excellent account as the grinning, menacing rival in love with the land and with McKay's attractive fiancée...

Burl Ives - Winner of the Academy Award as Best Supporting Actor in the film - is impeccably cast as the gray-haired patriarch of a shameful, indecent, discourteous clan...

Charles Bickford (1891-1967) could play as easily the sincere man of virtue ("Duel in the Sun") as the dishonest villain... His generous character and his stubborn face fitted him perfectly to such roles as the proud misguided patriarch led by false and mistaken ideas in the range against Burl Ives...

Chuck Connors (1921-92) is always remembered for his success on T.V. notably in "The Rifleman" series (58-63). Here he plays the heavy coward, the rude and vulgar, the hypocrite impolite noisy disorderly son...

Directed by William Wyler, "The Big Country" is a spectacular Western featuring a brilliant cast at top shape...

If you like big action, big fights, big love, don't miss it!

The Big Country was passed over by the professional critics as being empty, ernest, and not enough sweep to be called a true epic. Well, I remember seeing The Big Country and was properly swept off my feet by the grand scale of the Big Country, the death feud between Burl Ives and Charles Bickford, the shaky and doomed romance between Gregory Peck and the spoiled Carroll Baker and the quiet understanding between Peck and the lovely Jean Simmons, but most of all, the thing that propelled me to see The Big Country over and over was the magnificant score by Jerome Moross. Sure, I could site many scores that have aided films to glory, Max Steiner for The Letter, Maurice Jarre for Lawrence of Arabia, Miklos Roza for an excellent score for a weak epic Land of the Pharaohs, and Hans Zimmer for an excellent score for a great epic Gladiator but I still say that for a western you can't get any better than the magnificant score for The Big Country. The sweep and majesty and the quiet moments of Jerome Moross's music sets the tone for this truly underated movie. United Artist released the music on LP and I wore mine out along with my neighbors complaints, I now own an excellent CD produced by SILVA SCREEN which I can't wear out. All in all see The Big Country on your big screen in Widescreen and give yourself a real treat. Who needs Giant?

As several characters state in the film, "This is a big country" and THIS is a BIG MOVIE. It screams out for widescreen viewing. Many of the characters are largely and broadly drawn with big strokes (stubborn Peck, fiery Baker, resentful Heston, righteous Simmons, imperious Bickford, cantankerous Ives and slithering Connors) yet they all are dwarfed by the huge landscape. Tall men, horses, trees and houses are all presented as so many ants on an ant hill in many of the images. The film has a compelling story and intriguing interpersonal relationships and rivalries which are all enhanced by this larger than life approach. The landscape is sometimes awe-inspiring, notably in the Blanco Canyon scenes near the end of the film. Peck is appropriately straight-laced and uncomfortable in this rough & tumble setting, lovely Simmons is a likable heroine and Baker is an effective daddy's girl with misplaced affections. Connors acquits himself very nicely as a thoroughly detestable punk. Heston comes off extremely strong in this film. He's completely at home and was probably never more handsome (check out the scene in which he's roused from his bed by Peck!) He makes the most out of this secondary role. Bickford and Oscar-winning Ives make a great pair of adversaries...almost makes one wish for a prequel to see what got these two so riled up (but today's filmmakers couldn't be counted upon to do it in a tasteful, classy way.) Memorable scenes include the taunting of Peck by Connors and his brothers, Ives grand entrance into Bickford's house and an almost legendary fight scene between Heston and Peck. All of the above are raised to an even higher plane of excellence by what must be one of the greatest musical scores in film history (western or otherwise.) Jerome Moross composed several themes (the opening title is the best known) which put this film into a whole new category of enjoyment. The score stands alone as a beautiful listening experience and paired with the images in this film, it is amazing. It occasionally seems intrusive, yet knows when to keep quiet as well. The Oscar that year went to Tiompkin's "Old Man and the Sea", but it seems astonishing that anything could have bested this score. The film's only real flaw is slight overlength, but nothing really stands out as aching to be cut! Maybe just bits and pieces....but, really, the story just takes it's time and builds to some stirring moments.