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Strange what time does. I wasn't in a hurry to see Giant again. I had a fuzzy memory of the film. I remembered James Dean but I also remembered the length and the pace. Now in 2018 it had a completely different effect. I was riveted from beginning to end. Elizabeth Taylor ! How is it that I didn't remember the groundbreaking aspect of her character. She's a woman of the future tied by marriage to a reactionary past. I was born in Italy but I've been married to a Texan for 23 years. I know Texas well and I know the difference between Texas and New York as well as Texans who never left Texas and Texans who have lived and traveled elsewhere. Giant, made in 1956 tells us that without partisan bias. That's how it was and how, in many respects still is. James Dean, magic, of course Rock Hudson is terrific but it is Elizabeth Taylor's film. Carroll Baker, Dennis Hopper, Mercedes McCambridge and Sal Mineo are moving parts of this arid and beautiful landscape.

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

Based on a novel by Edna Ferber, Giant is an appropriately Texas-sized western/generational saga that parallels familial evolution with the changing socio-economic nature of the United States over an approximately 30-year period from the 1920s through the film's present, and by extension, a turn of the (20th) century mentality segueing into a more contemporary outlook. It is filled with excellent writing, fabulous direction and technical elements, outstanding performances, gorgeous photography, and plenty of depth via subtly implied philosophical ideas.

At its heart, Giant is the story of Jordan "Bick" Benedict (Rock Hudson), heir, along with his sister, Luz (Mercedes McCambridge) to a family cattle ranch that exceeds half a million acres. As the film opens, Bick has traveled to Maryland, ostensibly to purchase a horse from Dr. Horace Lynnton, who has a sizeable ranch of his own, but also perhaps to search for a wife. Whether the latter was his initial intention or not, he ends up finding a spouse in Dr. Lynnton's opinionated and somewhat irascible but beautiful daughter, Leslie (Elizabeth Taylor). Bick moves Leslie from the rolling green pastures that she calls home to the huge, dusty plains of Reata, his Texas ranch.

In the process, she ends up turning his world upside down. Luz sees Leslie as a threat to their routine, an interpretation that Leslie doesn't exactly try to deny. Leslie integrates herself into the daily workings of Reata and initiates changes in the way Bick and Luz behave towards their mostly Mexican staff, among other things. Bick and Leslie have children, but they're not exactly keen on following the family tradition. Other challenges and perhaps the strongest cultural change in the film comes via Jett Rink (James Dean), who goes through a gradual transformation from his early status in the film as a dirt-poor, uneducated ranch hand.

At a three and a half-hour running time, and covering decades in the lives of many different characters, Giant is nothing if not sprawling. But this is the kind of sprawl that works. Unlike most sprawling films, the cast of characters in Giant actually turns out to be relatively small, we always have a clear idea of who each character is, and every event leads to the next in a very tightly-written, logical manner.

In fact, one of the more unusual but laudable aspects of Fred Guiol and Ivan Moffat's script is the way that characters will mention something in an almost off-the-cuff manner before we immediately cut to the full realization of the previous comment. For example, Leslie and Bick are barely courting before we see them married. Other examples--Leslie goes from telling Bick that she's pregnant to having the baby in the next instant; Bick says that he's going to fly in a plane low over a particular hotel--just for dramatic effect with respect to a certain character--and in the next shot, this is just what he's doing. The first couple times this happens, it's almost a bit unnerving because of its uniqueness. We figure that the characters are in the middle of a dream sequence. But it quickly becomes apparent that the device is designed to enable large time span passages in an instant, and for the overall structure of the film, it works perfectly.

Given that structure, it was also unusual in this era to pick younger actors who would then have to be aged 30 years or so (the more standard procedure was to pick middle aged actors who could be made both younger and older through make-up and lighting). But Hudson, Taylor and Dean are perfect. Dean is especially impressive as he undergoes the most significant transformation. All three of his major films are almost heartbreaking to watch; he was an incredible talent but didn't have a chance to do much with it before he tragically passed away. But all three principal cast members are at the top of their game here; each is able to do a bit of scene stealing if they want. It creates a lot of energy throughout the film and enhances the occasional tensions in the script.

The smaller roles are perfectly filled as well. I was particularly amused with Dennis Hopper among the supporting cast. Hopper portrays Bick and Leslie's son, Jordan III. This was his first major role, and he meshes well, but at the same time, you can easily see the more infamous Hopper ala Easy Rider's (1969) Billy, Blue Velvet's (1986) Frank Booth, or The Texas Chainsaw Massacre 2's (1986) Lieutenant "Lefty" Enright.

The cinematography and production design are consistently beautiful. The stark Texas landscapes (filmed primarily in the town of Marfa) couldn't have more impact. The Benedict home is oddly Gothic and a bit eerie in its exterior (especially post-Psycho, 1960), and lushly gorgeous and Victorian inside. Later scenes give the interior a redecoration to match changing fashions.

Giant is extremely engaging in its soap-operatic family drama, but just as captivating for its subtle handling of important social themes. Leslie's respect for the Mexican ranch hands and servants parallels the slowly and occasionally painfully evolving public opinion about different ethnicities that is still developing. She also tries her best to usher in a bit of woman's liberation, open-mindedness in child rearing, and many other "progressive" attitudes. She's a symbol, in some ways, of Northeastern (U.S.) thinking filtering across the country in the early part of the 20th Century.

Giant is heavy on symbolism in many ways. Jett Rink's newfound fortune isn't just a personal transformation, but it symbolizes changing technology and the necessary adaptations to remain viable economically; it's a move away from a more agrarian existence. There is also pithy commentary on World War II--just look at who returns in one piece and who doesn't, and the different attitudes towards this.

It would probably take a book to just give an adequate analysis of this film. It goes without saying that you need to see Giant if you haven't already.

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 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.