Nicholas Ray is one of those classic 50's directors who has a huge cult, even though he only made a handful of excellent films. Experimenting with drugs, a study of the patriarch family and of boring suburban people and mid-life crises, Ray weaved an extremely controversial, yet superb and disenchanted melodrama. Memorable for many brilliant expressions of terrifying drama, lurid colour, a cult director at one of his greatest points, a risqué story which mounts the devastating critique on the materialistic, middle-class society during post-war America, and showing off the brilliant British actor Mr. James Mason, (who also produced such a fascinating time period study) who in a perfectly cast role, gives one of his greatest performances.
Before I dig into the pros, which I will likely explain Ray and Mason's perfect touches, and cons, which the film does have, I must first explain the harrowing and interestingly risqué dramatic story, which Cyril Hume and Richard Maibaum controversially put together.
Bigger Than Life stars the brooding James Mason (perfectly cast, in a role only he could play that strong) as a small-town teacher beset by worries about money and middle-age. He suffers from a rare disease and is prescribed cortisone, a type of steroids, but he becomes addicted to the sense of well being and bigger than life feeling it brings. The overdose of the drug and the inability to stop taking it, turns him into a neurotic, megalomaniac tyrant to his loving and sensitive wife, (played with warmth by Barbara Rush) scared, innocent son (Christopher Olson) and everyone else around him.
A profoundly radical Hollywood movie, the distinguished not only by its distaste for suburban notions of 'normality' but by the change of society and middle-class life during the postwar 50's. The film has an unbelievably raw and dramatic darkly moving score by David Raskin, and the beautifully nightmarish clarity of Bigger Than Life's intense colour scope and realistic dark colourful imagery is always a pleasure to watch. An extremely controversial film, the lighting, sets make the middle- class and small-town 'normal' community and family realistically shown, as well as heighten the melodramatic terrifying drug story and script.
Inspired by a New Yorker article by Berton Roueche, the screenplay warns against quick-fix solutions like the cortisone that transforms Mason's ailing teacher into a psychotic tyrant. The dialogue is fine and the film has some brilliantly scripted melodramatic moments and terrifying sequences. Sure, the films beginning is quite slow and the movie may wander off and grow too dramatic at some points, but its still such a provocative and extremely important study on middle-class suburban life and the effect of drugs and overdoses on a perfectly normal man.
James Mason gives such a terrifying, dark performance as Ed Avery. Barbara Rush is great, playing off warm and sensitivity and Walter Matthau is also well-casted in a rare dramatic role. Yet the supporting cast, screenplay and technical aspects are all out shined by the brilliant inventive performance from Mr. Mason. Perfectly showing the before and after character and emotion of Ed Avery, Mason is perfect in every sequence, both a sensitive and pitiful hero, as well as a vicious and tyrannical villain, tearing apart his and his family's life by his improper use of a dangerous drug. In every scene, mason gives just the perfect amount of touching emotion, terrifying Hyde-like power and memorable freed from inhibitions raw power, dominating the screen.
One of the most intriguing and raw filmmakers ever to be out in Hollywood, Nicholas Ray's follow-up to Rebel Without a Cause may not be as consecutively entertaining, brilliant or versatile to watch, but it's equally as important. In Bigger Than Life, Ray uses the lush and lurid horrifying colour cinematography, to show a realistic nightmare. Perfectly composing the suburban community and notions of 'normality,' Ray gives some terrific angles, terrific set-ups and excellent movement to show the story and develop the raw Mason. Collaborating together, Mason and Ray are perfect together and put together a controversial, yet extremely important and entertaining raw melodrama, which is in fact a masterpiece.
Before I dig into the pros, which I will likely explain Ray and Mason's perfect touches, and cons, which the film does have, I must first explain the harrowing and interestingly risqué dramatic story, which Cyril Hume and Richard Maibaum controversially put together.
Bigger Than Life stars the brooding James Mason (perfectly cast, in a role only he could play that strong) as a small-town teacher beset by worries about money and middle-age. He suffers from a rare disease and is prescribed cortisone, a type of steroids, but he becomes addicted to the sense of well being and bigger than life feeling it brings. The overdose of the drug and the inability to stop taking it, turns him into a neurotic, megalomaniac tyrant to his loving and sensitive wife, (played with warmth by Barbara Rush) scared, innocent son (Christopher Olson) and everyone else around him.
A profoundly radical Hollywood movie, the distinguished not only by its distaste for suburban notions of 'normality' but by the change of society and middle-class life during the postwar 50's. The film has an unbelievably raw and dramatic darkly moving score by David Raskin, and the beautifully nightmarish clarity of Bigger Than Life's intense colour scope and realistic dark colourful imagery is always a pleasure to watch. An extremely controversial film, the lighting, sets make the middle- class and small-town 'normal' community and family realistically shown, as well as heighten the melodramatic terrifying drug story and script.
Inspired by a New Yorker article by Berton Roueche, the screenplay warns against quick-fix solutions like the cortisone that transforms Mason's ailing teacher into a psychotic tyrant. The dialogue is fine and the film has some brilliantly scripted melodramatic moments and terrifying sequences. Sure, the films beginning is quite slow and the movie may wander off and grow too dramatic at some points, but its still such a provocative and extremely important study on middle-class suburban life and the effect of drugs and overdoses on a perfectly normal man.
James Mason gives such a terrifying, dark performance as Ed Avery. Barbara Rush is great, playing off warm and sensitivity and Walter Matthau is also well-casted in a rare dramatic role. Yet the supporting cast, screenplay and technical aspects are all out shined by the brilliant inventive performance from Mr. Mason. Perfectly showing the before and after character and emotion of Ed Avery, Mason is perfect in every sequence, both a sensitive and pitiful hero, as well as a vicious and tyrannical villain, tearing apart his and his family's life by his improper use of a dangerous drug. In every scene, mason gives just the perfect amount of touching emotion, terrifying Hyde-like power and memorable freed from inhibitions raw power, dominating the screen.
One of the most intriguing and raw filmmakers ever to be out in Hollywood, Nicholas Ray's follow-up to Rebel Without a Cause may not be as consecutively entertaining, brilliant or versatile to watch, but it's equally as important. In Bigger Than Life, Ray uses the lush and lurid horrifying colour cinematography, to show a realistic nightmare. Perfectly composing the suburban community and notions of 'normality,' Ray gives some terrific angles, terrific set-ups and excellent movement to show the story and develop the raw Mason. Collaborating together, Mason and Ray are perfect together and put together a controversial, yet extremely important and entertaining raw melodrama, which is in fact a masterpiece.