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.
217 Reviews
A Beautiful Epic About Changing Times
gab-1471224 March 2020
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
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
"The legendary epic that's as big as Texas!"
ClassicAndCampFilmReviews30 August 2005
The plot: Texas ranch owner Bick Benedict (Rock Hudson) travels to purchase a prize horse, but falls in love at first sight with the owner's pampered daughter Leslie (Elizabeth Taylor). He woos and wins her quickly, they marry, then travel back to his isolated ranch.
Leslie, after a rough start, proves herself quite the force of nature. Ranch hand Jett Rink (James Dean) falls into unrequited love with Leslie, uttering, in one scene, one of my favorite lines in the film, something like, "Mrs. Benedict, you sure do look right good enough to eat, yeah, good enough to eat...." (voice trails off and he looks like he's going to lick his lips) - and then when he strikes it rich with oil, he takes his bitterness out in several ways.
With a stellar supporting cast including Mercedes McCambridge, Sal Mineo, Carroll Baker, and Dennis Hopper, "Giant" is the original miniseries before anyone knew what a miniseries even was...except this is of course a classic film of the big screen, not a TV movie.
Directed by George Stevens, the sprawling epic (201 minutes, but it goes fast, believe me) beautifully covers two generations of family and a variety of issues, including marriage, family, childrearing, social snobbery and racism, the latter two being covered especially well. When in the mood for a well-paced, involved, alternately funny, sad, heartwarming, and emotionally fulfilling epic, "Giant" always fits the bill for me.
My favorite bit of trivia - Liz Taylor and Rock Hudson became fast friends on the set, and indulging together in partying/drinking binges most every night, after filming stopped. In the scene where the two are watching a marriage, the two actors had to stop during the filming several times to take turns going outside to throw up, as both were terribly hungover from the previous night's revelries.
Leslie, after a rough start, proves herself quite the force of nature. Ranch hand Jett Rink (James Dean) falls into unrequited love with Leslie, uttering, in one scene, one of my favorite lines in the film, something like, "Mrs. Benedict, you sure do look right good enough to eat, yeah, good enough to eat...." (voice trails off and he looks like he's going to lick his lips) - and then when he strikes it rich with oil, he takes his bitterness out in several ways.
With a stellar supporting cast including Mercedes McCambridge, Sal Mineo, Carroll Baker, and Dennis Hopper, "Giant" is the original miniseries before anyone knew what a miniseries even was...except this is of course a classic film of the big screen, not a TV movie.
Directed by George Stevens, the sprawling epic (201 minutes, but it goes fast, believe me) beautifully covers two generations of family and a variety of issues, including marriage, family, childrearing, social snobbery and racism, the latter two being covered especially well. When in the mood for a well-paced, involved, alternately funny, sad, heartwarming, and emotionally fulfilling epic, "Giant" always fits the bill for me.
My favorite bit of trivia - Liz Taylor and Rock Hudson became fast friends on the set, and indulging together in partying/drinking binges most every night, after filming stopped. In the scene where the two are watching a marriage, the two actors had to stop during the filming several times to take turns going outside to throw up, as both were terribly hungover from the previous night's revelries.
Giant success
BrandtSponseller6 July 2005
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.
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.
"You shoulda shot that fella a long time ago, now he's too rich to kill."
classicsoncall25 November 2006
Warning: Spoilers
The opening of the movie sets the viewer up for a bit of a shock later on; all those lush rolling green fields of Maryland give way to a desolate and bizarrely placed Gothic mansion in the middle of a Texas desert. One wonders what Leslie Benedict REALLY thought, because she never let on that this might have been a mistake. But they say love is blind, even if marriage is an eye opener. For my part, I was left wondering what the cattle ate out there to stay nourished, they certainly looked healthy. But of course, that wasn't the point. "Giant" was one of the earliest epic bordering films to examine racial intolerance and present a strong independent woman, and the scenes that play to those sentiments are the best in the story.
I had only the faintest of knowledge about the film, generally cited as a final showcase for one of it's stars, James Dean. What surprised me the most was the presence of such a fine supporting cast behind Dean, Rock Hudson and Elizabeth Taylor. Mercedes McCambridge excels with limited screen time as Bick's (Hudson) manly sister, while Carroll Baker and Dennis Hopper appear as the adult Benedict heirs, each off in their own direction to the consternation of their father. It's always interesting to see Dennis Hopper, especially in very young early roles, to see how he developed his chameleon like ability to morph into virtually any type of characterization.
It's fair to say that the movie's three plus hours virtually flies by, and one wonders how long it could have gone if the film hadn't lopped off years between scenes. On the flip side, that might also be the picture's greatest downside. Even though continuity is never lost, it's somewhat disorienting to see a family age by almost a decade at a clip, as there was plenty of room for additional character development in between. That's probably why more than once I thought that the picture might have benefited from a serialization of sorts, along the lines of say, "Dallas", other similarities notwithstanding. Is there any way to overlook the connection between Jett Rink's (Dean) prominent initials and those of the eldest son of the Ewing clan?
The movie ties up a lot of connections by the time it's over, like Jordy's (Hopper) 'Country Doctor' medical kit and his adult life's ambition. The best though came near the finale when Hudson's character Bick Benedict transcends his chauvinistic and bigoted past to take on the proprietor of 'Sarge's Place'. It was the redeeming moment worth waiting for, set to martial music and inviting the viewer to cheer on the man who was getting his butt whipped. It's a scene that best captures the spirit of "Giant", as if defining each of it's principal players as a giant in their own right.
I had only the faintest of knowledge about the film, generally cited as a final showcase for one of it's stars, James Dean. What surprised me the most was the presence of such a fine supporting cast behind Dean, Rock Hudson and Elizabeth Taylor. Mercedes McCambridge excels with limited screen time as Bick's (Hudson) manly sister, while Carroll Baker and Dennis Hopper appear as the adult Benedict heirs, each off in their own direction to the consternation of their father. It's always interesting to see Dennis Hopper, especially in very young early roles, to see how he developed his chameleon like ability to morph into virtually any type of characterization.
It's fair to say that the movie's three plus hours virtually flies by, and one wonders how long it could have gone if the film hadn't lopped off years between scenes. On the flip side, that might also be the picture's greatest downside. Even though continuity is never lost, it's somewhat disorienting to see a family age by almost a decade at a clip, as there was plenty of room for additional character development in between. That's probably why more than once I thought that the picture might have benefited from a serialization of sorts, along the lines of say, "Dallas", other similarities notwithstanding. Is there any way to overlook the connection between Jett Rink's (Dean) prominent initials and those of the eldest son of the Ewing clan?
The movie ties up a lot of connections by the time it's over, like Jordy's (Hopper) 'Country Doctor' medical kit and his adult life's ambition. The best though came near the finale when Hudson's character Bick Benedict transcends his chauvinistic and bigoted past to take on the proprietor of 'Sarge's Place'. It was the redeeming moment worth waiting for, set to martial music and inviting the viewer to cheer on the man who was getting his butt whipped. It's a scene that best captures the spirit of "Giant", as if defining each of it's principal players as a giant in their own right.
Sprawling, slow-moving epic about the dying days of cattle ranching
Vartiainen14 January 2016
In 1920s, a wealthy Texan cattle rancher (Rock Hudson) travels to East Coast in order to buy a prize horse. There he meets a woman (Elizabeth Taylor), the daughter of his soon-to-be business partner, who he ends up marrying after a quick romance. The movie follows their lives down in Texas as the seasons change and the old ways begin to give ground to the new century.
Giant is an epic. It covers years and years of time and deals with all the prominent themes and problems of those decades. Things like oil business, racial issues, societal status, responsibility of the rich to the poor, and so many others, make an appearance and are addressed in turn. Taylor's character is the voice of the new age, while Hudson's is the voice of the old and their interactions are the driving voice of the film.
And it works. It is a very interesting film to follow if you know anything about that particular span of history. The film is over three hours long, and can thus cover a lot of ground and give each subject its due time. Though that can be a problem as well. It is a very slow film, with deliberate, calm pacing. Nothing much really happens most of the time, or perhaps it would be more accurate to say that things happen very slowly. Personally I found the film to be perhaps a bit too slow and deliberate, but if old epics are your thing, you'll definitely get what you're looking for.
Giant is to be applauded for its vision. It set out to tell a family saga in its full glory and in that regard it definitely delivers. From modern point of view it can a bit tedious, but I cannot in good faith condemn it for that.
Giant is an epic. It covers years and years of time and deals with all the prominent themes and problems of those decades. Things like oil business, racial issues, societal status, responsibility of the rich to the poor, and so many others, make an appearance and are addressed in turn. Taylor's character is the voice of the new age, while Hudson's is the voice of the old and their interactions are the driving voice of the film.
And it works. It is a very interesting film to follow if you know anything about that particular span of history. The film is over three hours long, and can thus cover a lot of ground and give each subject its due time. Though that can be a problem as well. It is a very slow film, with deliberate, calm pacing. Nothing much really happens most of the time, or perhaps it would be more accurate to say that things happen very slowly. Personally I found the film to be perhaps a bit too slow and deliberate, but if old epics are your thing, you'll definitely get what you're looking for.
Giant is to be applauded for its vision. It set out to tell a family saga in its full glory and in that regard it definitely delivers. From modern point of view it can a bit tedious, but I cannot in good faith condemn it for that.
One of the most underrated classics in film history
Wen-25 September 1998
I first saw this film when I was 12 years old. It instantly became my favorite film of all time. I've seen it at least 6 times in the last thirty years, and enjoy it more each time. I was pleased to see that it at least made the top 100 films of all time list, I believe it was the National Board of Review; If not, it was as prestigious an organization.
Great characterizations abound! Never has a films with such youthful leads, generated so much emotional impact. Even though George Stevens deservedly won for Best Director, the film should have garnered more Oscars, it was nominated in 11 or 12 categories. It definitely superior in every way to Mike Todd's "Around the World in 80 Days", even though that was a delightful movie, but clearly without the substance of "Giant".
I always dreamed that subsequent generations would discover this movie and lift it to the blockbuster status that it deserves. I encourage anyone to see this movie, it has held up flawlessly over the years. A honest to goodness fabulous movie!
Great characterizations abound! Never has a films with such youthful leads, generated so much emotional impact. Even though George Stevens deservedly won for Best Director, the film should have garnered more Oscars, it was nominated in 11 or 12 categories. It definitely superior in every way to Mike Todd's "Around the World in 80 Days", even though that was a delightful movie, but clearly without the substance of "Giant".
I always dreamed that subsequent generations would discover this movie and lift it to the blockbuster status that it deserves. I encourage anyone to see this movie, it has held up flawlessly over the years. A honest to goodness fabulous movie!
A Film As Big and As Great As Texas.
tfrizzell24 March 2004
"Giant" is a sometimes forgotten masterpiece which is remembered for its massive budget (becoming the most expensive movie ever made at that time) and of course James Dean's death during the final stages of production. All the sub-stories during the making of this film overshadow the fact that this is easily one of the top ten movies ever made. Definitely in the class with epics like "Gone With the Wind" and "Lawrence of Arabia", "Giant" is a 200-minute symphony of a movie about the life of a Texas cattle rancher (Oscar-nominee Rock Hudson) and his wife from the East Coast (Elizabeth Taylor). Immediately following their marriage, Hudson's older sister (Mercedes McCambridge, Oscar-nominated) dies after falling off the same horse that Hudson had bought from Taylor's father. Disgusted with the fact that Hudson had married Taylor, McCambridge had decided to leave a small part of her land to quiet cow-hand James Dean (in his finest performance, garnering him his second consecutive posthumous Oscar nomination). Hudson is advised to buy the land from Dean, but Dean refuses to sell. Now Dean is trying to strike oil and is ultimately successful. He becomes a huge oil baron and one of the richest and most powerful men in Texas. Hudson continues to make money as well, but eventually has to swallow his pride and become a wild-catter himself. The hate and friction between Hudson and Dean is sure to lead to fireworks for all associated with the two volatile men. Secretly, Dean has always loved Taylor and even goes so far as to try and get with Taylor's youngest daughter (a brilliant turn by Carroll Baker). Dean is trying to substitute Baker for the lover he has always had for Taylor. By this time Dean is well in his 50s (due to heavy makeup), but he is trying to capture the failed dreams of his youth. Ultimately, Dean has everything except the one thing he really wanted. He lacks love in his life and he suffers miserably through as the film progresses. The older twin children of Hudson and Taylor's both grow up to go in very different directions. The daughter (Fran Bennett) marries and wants to run the ranch, to Hudson's approval and Taylor's dismay. However, the son (a very young Dennis Hopper) marries a Hispanic woman (very taboo back in those days) and wants to go north to become a doctor. Of course Hudson is outraged at this development and nearly disowns Hopper all together. Hudson then decides that Bennett's new husband (Earl Holliman) may be the best for the job. Holliman though is immediately drafted into World War II, along with Hispanic laborer Sal Mineo. Hudson worries about change after he passes away, but he eventually learns that most of the things he obsesses about are not as important as other matters. Equality for females and Hispanic Americans are major messages throughout here. Much like novelist Edna Ferber's equally excellent "Cimarron" (which dealt with sexism and racism toward Native- and African-Americans in Oklahoma), "Giant" paints a wonderfully complex picture of humanistic relationships from varying cinematic angles. Overall, "Giant" is a huge motion picture that is so smart, multi-layered and deep-thinking that it requires over three hours to tell the entire story. Everything here is so magnificent. The Oscar-winning direction by George Stevens, the screenplay, the art direction, the editing, the costume design, the makeup, the sound and the original musical score are all superb. Almost every actor does the best work of their respective careers as well. James Dean and Rock Hudson are the best. Mercedes McCambridge (albeit in a very small role) is super. Dennis Hopper and Carroll Baker (Baker even received an Oscar nomination for Best Actress in 1956 for "Baby Doll") both show amazing range at their very young ages. Chill Wills (who plays Hudson's old wise uncle) and Elizabeth Taylor give stellar performances as always. Overlooked in 1956 (the unmemorable "Around the World in 80 Days" won the Best Picture Oscar), "Giant" is easily the best film from that weak year and is ranked as the best movie of that decade in my book. One of the most excellent productions of all time. 5 stars out of 5.
A beautiful, sweeping epic
FilmOtaku23 January 2005
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
"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
sprawling saga of old Texas turning into modern Texas
AlsExGal10 October 2019
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.
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.
A Giant In Its Day, But Shrinking As It Gets Older (As Most Of Us Do)
ccthemovieman-126 September 2007
I'll never forget seeing this in an old movie theater in my college town in 1968 In that transitional year for films, many of the previous films we had seen up to then were slow, melodramatic films, and some slightly-faster comedies so this movie was "tolerable." It was a long, yes, but had some expansive, impressive cinematography and had some big-name stars to watch in Rock Hudson, Elizabeth Taylor and James Dean. I found it interesting at that time.
When I revisited this film a few years after it was released on VHS, my reaction was: "Wow, have times changed. This is dragging, now." That holds true even more so today in late 2007. This would be very, very tough to sit through at the present, and I mention it for those under 60 who have never seen it. They would probably have the same reaction. It was a different era and stories moved a lot slower than today..
As I look back at all the soap operas that were on screen in the '50s, this one looks so typical for its day. I expected affected fluff from Hudson and Taylor, but I was disappointed in Dean's smaller role in this film. It was not memorable way for him "to go out," although nobody certainly knew a car accident would make this his last movie. If you want to remember Dean in a more positive light, get the DVD of "East Of Eden."
Overall, I still love George Stevens' direction and the photography - but you have to really love the melodramas the '50s to watch this thing in its entirety today. I never wound up really caring about these characters in here, either. Maybe you have to be from Texas to relate.
Methinks this film gets overrated because of the notoriety of its three stars - Hudson, Taylor and Dean (sounds like a law firm!).
When I revisited this film a few years after it was released on VHS, my reaction was: "Wow, have times changed. This is dragging, now." That holds true even more so today in late 2007. This would be very, very tough to sit through at the present, and I mention it for those under 60 who have never seen it. They would probably have the same reaction. It was a different era and stories moved a lot slower than today..
As I look back at all the soap operas that were on screen in the '50s, this one looks so typical for its day. I expected affected fluff from Hudson and Taylor, but I was disappointed in Dean's smaller role in this film. It was not memorable way for him "to go out," although nobody certainly knew a car accident would make this his last movie. If you want to remember Dean in a more positive light, get the DVD of "East Of Eden."
Overall, I still love George Stevens' direction and the photography - but you have to really love the melodramas the '50s to watch this thing in its entirety today. I never wound up really caring about these characters in here, either. Maybe you have to be from Texas to relate.
Methinks this film gets overrated because of the notoriety of its three stars - Hudson, Taylor and Dean (sounds like a law firm!).
The Eyes of Texas
bkoganbing20 May 2007
I am of the opinion that it is impossible to make a bad film out of an Edna Ferber book. Her backgrounds are epic and she creates characters who fill the backgrounds that their stories take place.
Such is the case of Giant and the story of Bick Benedict, Leslie Lynnton, and Jett Rink and all the Texans here, native and transplanted. Giant's story begins with Bick Benedict coming to Maryland to buy a prize stallion and in a whirlwind courtship, marrying and bringing back the stallion and it's owner as well who becomes Leslie Lynnton.
Benedict as played by Rock Hudson is co-owner with his sister Mercedes McCambridge of one large piece of Texas real estate named Reata which makes the Ponderosa look like a homestead. 595,000 acres Hudson modestly states to the Lynnton guests at dinner. He's also incurred the jealousy of one of his ranch hands, James Dean as Jett Rink who envies Hudson in all things including his new bride.
Hudson and Dean were both up for Best Actor in 1956 losing to Yul Brynner in The King and I, but I've always felt that this was Elizabeth Taylor's film. Liz showed what she could do in George Stevens's A Place in the Sun and unfortunately she went back to MGM and got a bunch of films that were really beneath her talents. It was George Stevens again who even though he wanted Grace Kelly in the part first, got a great performance out of Elizabeth Taylor. Although she's overawed at first by the Texans and their ways, she warms gradually up to the role of mistress of Reata and brings a touch of compassion and humanity to Reata and its people.
The leading man was also borrowed by Warner Brothers. Rock Hudson got his one and only Oscar nomination for this role. His character of Bick Benedict ages and grows in every way. Maybe because its Rock Hudson playing the part, but I think it's Hudson innate and underrated skill as a player that makes you know there's a latent decency that's eventually going to overcome the bad things he was brought up with.
Of course Giant marks the early tragic farewell of James Dean as player. In one terrible accident that claimed his life James Dean went from rebel actor to eternal legend. Jett Rink was the final piece of his performing career and only a hint of what we could have expected from him. He's a dirt poor ranch hand, as poor as the Mexicans, who mostly work at Reata, but he doesn't identify with them at all. When he strikes it oil rich, he's just put in a position where he can now inflict terrible things on those people he feels superior to.
When film fans talk about Giant they talk about the differences between Hudson and Dean. Hudson starts out rich and prejudiced, Dean is poor and prejudiced. Dean strikes it rich and becomes an oil billionaire, but it's brought him no happiness, just richer surroundings to be miserable in. The difference is that Hudson had Taylor and the children they both had. Their lives together, Taylor's love and devotion and his children's respectful rebellion made him see things differently and grow as a person. If Dean had an Elizabeth Taylor, things might have worked out better for him in a personal sense.
George Stevens won the only Oscar that Giant got that year, for Best Director. The all-star extravaganza Around the World in 80 Days won for Best Picture, though I think Giant has stood the test of time a lot better. Then again Stevens had an Edna Ferber epic story to work from and as I said before, you can't ever go wrong with one of her stories.
Such is the case of Giant and the story of Bick Benedict, Leslie Lynnton, and Jett Rink and all the Texans here, native and transplanted. Giant's story begins with Bick Benedict coming to Maryland to buy a prize stallion and in a whirlwind courtship, marrying and bringing back the stallion and it's owner as well who becomes Leslie Lynnton.
Benedict as played by Rock Hudson is co-owner with his sister Mercedes McCambridge of one large piece of Texas real estate named Reata which makes the Ponderosa look like a homestead. 595,000 acres Hudson modestly states to the Lynnton guests at dinner. He's also incurred the jealousy of one of his ranch hands, James Dean as Jett Rink who envies Hudson in all things including his new bride.
Hudson and Dean were both up for Best Actor in 1956 losing to Yul Brynner in The King and I, but I've always felt that this was Elizabeth Taylor's film. Liz showed what she could do in George Stevens's A Place in the Sun and unfortunately she went back to MGM and got a bunch of films that were really beneath her talents. It was George Stevens again who even though he wanted Grace Kelly in the part first, got a great performance out of Elizabeth Taylor. Although she's overawed at first by the Texans and their ways, she warms gradually up to the role of mistress of Reata and brings a touch of compassion and humanity to Reata and its people.
The leading man was also borrowed by Warner Brothers. Rock Hudson got his one and only Oscar nomination for this role. His character of Bick Benedict ages and grows in every way. Maybe because its Rock Hudson playing the part, but I think it's Hudson innate and underrated skill as a player that makes you know there's a latent decency that's eventually going to overcome the bad things he was brought up with.
Of course Giant marks the early tragic farewell of James Dean as player. In one terrible accident that claimed his life James Dean went from rebel actor to eternal legend. Jett Rink was the final piece of his performing career and only a hint of what we could have expected from him. He's a dirt poor ranch hand, as poor as the Mexicans, who mostly work at Reata, but he doesn't identify with them at all. When he strikes it oil rich, he's just put in a position where he can now inflict terrible things on those people he feels superior to.
When film fans talk about Giant they talk about the differences between Hudson and Dean. Hudson starts out rich and prejudiced, Dean is poor and prejudiced. Dean strikes it rich and becomes an oil billionaire, but it's brought him no happiness, just richer surroundings to be miserable in. The difference is that Hudson had Taylor and the children they both had. Their lives together, Taylor's love and devotion and his children's respectful rebellion made him see things differently and grow as a person. If Dean had an Elizabeth Taylor, things might have worked out better for him in a personal sense.
George Stevens won the only Oscar that Giant got that year, for Best Director. The all-star extravaganza Around the World in 80 Days won for Best Picture, though I think Giant has stood the test of time a lot better. Then again Stevens had an Edna Ferber epic story to work from and as I said before, you can't ever go wrong with one of her stories.
Larger than life
Chase_Witherspoon23 March 2013
The epitome of the Hollywood epic soap opera, immortalised by the premature death late in the production by its enigmatic star James Dean. Dean plays a brooding ranch-hand bequeathed a parcel of supposedly arid land upon the death of his employer, but rather than exchange it for a handsome sum, turns it into a profitable oil interest much to the chagrin of his former employer's son (and heir to the estate) Hudson.
Elizabeth Taylor co-stars as Hudson's wife (affecting a reasonable southern drawl), while notable supporting cast features Dennis Hopper and Carroll Baker as the Hudson/Taylor brood (nevermind the age issues), and Chill Wills, Rod Taylor and the very young Sal Mineo have supporting roles of various importance.
I'm not sure if "Giant" would've become so revered had it not been for the fatal accident that claimed Dean's life before its release, suffice to say it's best seen with an intermission to digest the mammoth three hours plus duration. Overall the story is engaging and the cast is attractive, but the execution is all show and little substance.
Elizabeth Taylor co-stars as Hudson's wife (affecting a reasonable southern drawl), while notable supporting cast features Dennis Hopper and Carroll Baker as the Hudson/Taylor brood (nevermind the age issues), and Chill Wills, Rod Taylor and the very young Sal Mineo have supporting roles of various importance.
I'm not sure if "Giant" would've become so revered had it not been for the fatal accident that claimed Dean's life before its release, suffice to say it's best seen with an intermission to digest the mammoth three hours plus duration. Overall the story is engaging and the cast is attractive, but the execution is all show and little substance.
Dated and bloated
ericbryce221 July 2006
I've seen this movie enough times to know that I could never sit through it again. Rock Hudson and Elizabeth Taylor were too young or perhaps too good looking to pull off aging despite the makeup and gray streaks.
The main message of the movie is, see how bad the rich white trash folks treats the poor wet backs. James Dean again was too young to act his way through the age makeup. It takes a good actor to pull off a convincing drunk, and Dean was not up to that task either. Carroll Baker played her usual sex kitten roll. Dennis Hopper delivers a convincing and understated performance as the son.
All in all this movie is too long, too preachy and every segment of society is portrayed stereotypically. The movie could have ended when Jett Rink strikes oil. The last part with Rock and Liz trying to act like they were old is painful to watch.
The main message of the movie is, see how bad the rich white trash folks treats the poor wet backs. James Dean again was too young to act his way through the age makeup. It takes a good actor to pull off a convincing drunk, and Dean was not up to that task either. Carroll Baker played her usual sex kitten roll. Dennis Hopper delivers a convincing and understated performance as the son.
All in all this movie is too long, too preachy and every segment of society is portrayed stereotypically. The movie could have ended when Jett Rink strikes oil. The last part with Rock and Liz trying to act like they were old is painful to watch.
a significant American tome that takes us through an elemental learning-curve of open-mindness and righteousness that flouts the specious "winner takes it all" precept
lasttimeisaw9 July 2018
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.
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.
A monument to myths about Texas size, wealth, and vulgarity
Nazi_Fighter_David11 June 2005
Warning: Spoilers
"Giant" met the lush, sprawling Edna Ferber novel on its own level
Detailing the history of a Texas royal family, the movie, like the novel, is a monument to myths about Texas size, wealth, and vulgarity
A well-bred lady from Virginia, Liz is the outsider who marries the big, strong, thick-headed ruler of a family dynasty (Rock Hudson) and who stubborn1y refuses to lose her own notions of right and wrong
In choosing as his bride this independent woman who won't conform to Texas folkways, Hudson selected a wily and persevering antagonist, a lady with a mind of her own who challenges, and loves him every step of the way At the end, when he fights the owner of a roadside diner who will not serve his Mexican daughter-in-law and grandchild, Liz can count the twenty-five-year battle hers Playing the liberal to her husband's reactionary, she's succeeded finally in educating her man It's one of the few occasions when Taylor's the wise teacher rather than the recalcitrant pupil
The marriagea prototype for the Taylor ménage, in which tenderness and turbulence are closely mixedis set against the evolution of Texas from old-fashioned to modern As horse-loving Virginia deb, as new bride, as threat to her husband's mannish domineering sister, as young wife and mother, as patrona of the ranch who would rather talk politics with the men than chit-chat with the women, as the unattainable mistress of Jett Rink's dreams, as dignified, middle-aged champion of American-Chicano integration, Liz is at the center of the epic canvas, and it's a wise and charming performance
Stevens again shots the stillness of her serene beauty, but he also explores the temperament of the Taylor spitfire Leslie Lynnton is one of Taylor's strong heroines, one of the few women she's played who, if they absolutely had to, might make it on their own
A well-bred lady from Virginia, Liz is the outsider who marries the big, strong, thick-headed ruler of a family dynasty (Rock Hudson) and who stubborn1y refuses to lose her own notions of right and wrong
In choosing as his bride this independent woman who won't conform to Texas folkways, Hudson selected a wily and persevering antagonist, a lady with a mind of her own who challenges, and loves him every step of the way At the end, when he fights the owner of a roadside diner who will not serve his Mexican daughter-in-law and grandchild, Liz can count the twenty-five-year battle hers Playing the liberal to her husband's reactionary, she's succeeded finally in educating her man It's one of the few occasions when Taylor's the wise teacher rather than the recalcitrant pupil
The marriagea prototype for the Taylor ménage, in which tenderness and turbulence are closely mixedis set against the evolution of Texas from old-fashioned to modern As horse-loving Virginia deb, as new bride, as threat to her husband's mannish domineering sister, as young wife and mother, as patrona of the ranch who would rather talk politics with the men than chit-chat with the women, as the unattainable mistress of Jett Rink's dreams, as dignified, middle-aged champion of American-Chicano integration, Liz is at the center of the epic canvas, and it's a wise and charming performance
Stevens again shots the stillness of her serene beauty, but he also explores the temperament of the Taylor spitfire Leslie Lynnton is one of Taylor's strong heroines, one of the few women she's played who, if they absolutely had to, might make it on their own
Overrated? Over-inflated? just too overlong and boring?
joelovesbabs9 May 2017
Well, after finally tackling this "epic" soap opera, is it truly deserving of all its hype? Beautiful Liz Taylor, handsome Rock Hudson, and strapping and intense and methodical Jim Dean, but overall the feeling is just mute, could not wait for the whole thing to just be over with. Compared to Gone with the Wind, it is such a snooze and no character here comes close to the audaciousness and spunk of Scarlett O'Hara or the beauty and goodness of Melanie Hamilton or the tower of strength that is Mammie. Rhett Butler would bitch-slap Rock Hudson's character silly if he had the chance.
A Majestical, Awe-Inspiring Masterpiece
directjw19 February 1999
What can I say? George Steven's Giant is a prototype for what a classic epic film should be like. It takes time to develop its two main characters, and it does a good job of examining the social milieu and environment (Texas) that the characters inhabit. Rock Hudson's performance reminds me of Richard Burton's in the underrated Joseph Mankiewiek's film Cleopatra, and indeed, there are many parallels (which I won't go into) between Rock Hudson's character and Marc Anthony. Similarly, Elizabeth Taylor's character in Giant (radiant and wonderful as usual) resembles Cleopatra in many ways. One can argue that Giant is the story of Anthony and Cleopatra transported to Texas. And it's almost heartbreaking to see James Dean in his last performance. . . the flow of generations, the gaps between the older and the newer generations, the passing on off dreams by ancestors, the influence of the dead on the living, tradition versus modernity, the lasting and ever-changing nature of love. . . these are all issues which Giant addresses eloquently and majestically. Oh, and there is a ten-minute section in Giant which has got to be one of the best cinematic passages I have ever seen. In this passage, without the use of and sound or music, George Steven's portrays death and rebirth through the generations. . . it's nothing short of astonishing!
Towering and overblown rendition of Edna Ferber's novel with great cast and spectacular scenarios
ma-cortes26 June 2019
Sprawling and soapy epic, about cattle and oil barons and covering two generations , as the life of a wealthy Texas cattle rancher , his family , descendants and associates . Dealing with the men who love a strong-willed Virginia woman : Elizabeth Taylor . As it is starred by Leslie Lynnton (Elizabeth Taylor) --whether you loved her in the open or hid it inside you--you hungered , Bick Benedict (Rock Hudson) who was big, but he was biggest the one day when he crawled and he takes her to live on his vast ranch , and , finally , Jett Rink (James Dean , he grapples rather unsteadly with his role once it has progressed to middle age) who was made to get to the top , so he could have the fun of falling all the way down. Jett Rink, the outsider--and Leslie, wealthy and beautiful . Rink at the beginning is a resentful ranch hand who secretly loves Taylor , subsequently he winds up striking oil and achieving fame and fortune to rival that of his former boss . It explores the problems they have adjusting the life together , as well as prejudices of the time and local politics . Sometimes any man can be a giant
Epic and impressive movie plenty of romance , emotion , thrills , intense drama and historical events about Texas State . This is a lush romanticism movie , the alegorical intimitations can not be entirely believable , however this breathtaking film is attractive and interesting , though overlong . It is rather enervatingly composed with long and boring scenes , but photography and gorgeous landscapes make up for it , though pacing could be certainly tighter . The publicity describes the movie as The legendary epic that's as big as Texas and filmmaker George Stevens who did win an Academy Award was able to endow the picture with wealth of period detail . Although the film strives so hard and long , including serious statements that it ends up as a tired yawn . The movie attempts to conduct some sort of attack on rampant materialism , and against racism , working exploitation and offerings an elegy for the times that have changed . But the pace is so plodding and so slow that the general effects result to be overlong and unsubtle , that one is left impressed only by the luxurious outdoors and adequate interpretations . The first two thirds parts of the movie are moving stuff , but its grip relaxes rather too much towards the final . To watch the soft-central nature of the movie , one need only compare it the much better description of Texan family life made by Douglas Sirk in ¨Written on the wind¨ also starred by Rock Hudson . Trio protagonists give nice acting , Elizabeth Taylor as the gorgeous and stubborn Leslie , Rock Hudson as the strait-laced catttle baron and James Dean as the less respectable rancher who strikes it thanks to find oil , he provides a convincing portrayal of a young foreman and later on , a middle-aged man . This was his last film , shortly before his death in a car crash shooting was completed . Rock Hudson and James Dean were both nominated for an Oscar . Support cast is frankly excellent , such as : Chill Wills , Carroll Baker , Mercedes McCambridge , Jane Withers , Dennis Hopper , Sal Mineo , Rod Taylor Rod Taylore , Judith Evelyn ,Earl Holliman , Alexander Scourby , Elsa Cardenas and Paul Fix , among others .
It contains a romantic as well as exciting musical score by the classic composer Dimitri Tiomkin . And a colorful and glowing cinematography by William C. Mellor , in brilliant Technicolor . The motion picture was well , but slowly directed by George Stevens who even took a courageous stand over the explotation of Mexican labourers .This decent film with great sense and sensibility was compellingly directed by George Stevens ,considered to be one of the best American directors . He filmed all kind genres such as drama : The diary of Anne Frank , A place in the sun , Giant , Alice Adams ; Comedy : Vivacious lady , Talk of the town ; Adventure : Gunga Din ; Western : Shane , Annie Oakley , and Historical/religious : The greatest story ever told . Rating : 6.5/10 .
Epic and impressive movie plenty of romance , emotion , thrills , intense drama and historical events about Texas State . This is a lush romanticism movie , the alegorical intimitations can not be entirely believable , however this breathtaking film is attractive and interesting , though overlong . It is rather enervatingly composed with long and boring scenes , but photography and gorgeous landscapes make up for it , though pacing could be certainly tighter . The publicity describes the movie as The legendary epic that's as big as Texas and filmmaker George Stevens who did win an Academy Award was able to endow the picture with wealth of period detail . Although the film strives so hard and long , including serious statements that it ends up as a tired yawn . The movie attempts to conduct some sort of attack on rampant materialism , and against racism , working exploitation and offerings an elegy for the times that have changed . But the pace is so plodding and so slow that the general effects result to be overlong and unsubtle , that one is left impressed only by the luxurious outdoors and adequate interpretations . The first two thirds parts of the movie are moving stuff , but its grip relaxes rather too much towards the final . To watch the soft-central nature of the movie , one need only compare it the much better description of Texan family life made by Douglas Sirk in ¨Written on the wind¨ also starred by Rock Hudson . Trio protagonists give nice acting , Elizabeth Taylor as the gorgeous and stubborn Leslie , Rock Hudson as the strait-laced catttle baron and James Dean as the less respectable rancher who strikes it thanks to find oil , he provides a convincing portrayal of a young foreman and later on , a middle-aged man . This was his last film , shortly before his death in a car crash shooting was completed . Rock Hudson and James Dean were both nominated for an Oscar . Support cast is frankly excellent , such as : Chill Wills , Carroll Baker , Mercedes McCambridge , Jane Withers , Dennis Hopper , Sal Mineo , Rod Taylor Rod Taylore , Judith Evelyn ,Earl Holliman , Alexander Scourby , Elsa Cardenas and Paul Fix , among others .
It contains a romantic as well as exciting musical score by the classic composer Dimitri Tiomkin . And a colorful and glowing cinematography by William C. Mellor , in brilliant Technicolor . The motion picture was well , but slowly directed by George Stevens who even took a courageous stand over the explotation of Mexican labourers .This decent film with great sense and sensibility was compellingly directed by George Stevens ,considered to be one of the best American directors . He filmed all kind genres such as drama : The diary of Anne Frank , A place in the sun , Giant , Alice Adams ; Comedy : Vivacious lady , Talk of the town ; Adventure : Gunga Din ; Western : Shane , Annie Oakley , and Historical/religious : The greatest story ever told . Rating : 6.5/10 .
James Dean's final "Hurrah" in George Steven's epic "Yee-haw!"...
ElMaruecan822 March 2017
Warning: Spoilers
"Giant" is the word. This is an epic of gigantic ambitions fully achieved thanks to the confident directing of George Stevens, his mastery of the camera as a unique tool of storytelling and the confident performances of the Rock Hudson, Liz Taylor and James Dean's trio.
James Dean steals every scene he's in, and even in his most bizarre and awkward moments, Dean actually contributes to the modernization of a tone that would have otherwise been deemed as conventional and old-fashioned. While the film's appeal doesn't rest on the shoulders of Dean (who is a supporting character, not leading, don't be fooled) paraphrasing Bick Benedict (Hudson), Dean is that bit of vinegar in the greens: he gives flavor.
It is quite ironic that the sourest character of the film is the one who supposedly exemplifies the American Dream, a young kid who inherited a small piece of land and was bought out as soon as he got it, for twice the value. Whatever awaits him, he knows it's a small price to get rid of a land, which is the only possible wealth (remember what Scarlett O'Hara's father said about it being the only thing worthy dying and fighting for, because it is the only thing that lasts) Jett Rink keeps the land, builds one derrick and then, years of labor pay off with oil gushing from land's womb. He's literally intoxicated with the climax of his efforts, he becomes rich, he gets the power but remains a hapless and bitter man. He didn't have Leslie, Bick's wife, played by Elizabeth Taylor.
The way I retell it might echo the line of Tony Montana about the American Dream, there is in Rink's "last supper" scene the surly mood of Tony in the restaurant, the disgust when confronted to the decadence of the one he thought to be his love. And from the visible failure of Rink, the movie ends with Bick telling Leslie that he's a failure because he invested all his time and work to have the biggest cattle of Texas so that his children could inherit it, one became a doctor and married a Mexican, one married a rancher who believes "big stuff is old stuff", and another is infatuated with his archenemy. It takes a wonderful concluding speech from Leslie, to remind him all the journey they went through during these 25 years, and how he started as a traditional rancher who despised Mexicans, and ended up risking his own neck to defend these "people" against racism, to have raised kids who were open enough to embrace other cultures and to have things "their way".
"Giant" does close the arc of their characters in such a way that we can only applaud the efforts of George Stevens and the writers who adapted the screenplay from the novel by Edna Faber, to make a powerful social comment about Texas and the many particularities of Texan culture from both a local perspective and an outsider's. The masterstroke is that Bick, the tough and towering rancher comes to buy a stallion in Virginia but comes back with an unexpected and more valuable catch, a delicate beauty who speaks for herself and shows more strength than the usual housewife. It takes a time to adapt to Texas' methods but from the way she handles her tough sister-in-law, played by Mercedes McCambridge, we know that a liberating wind will dust-off the place.
Indeed, I was surprised to see issues like racism and feminism tackled in a film that could have easily been deemed as traditional epic family sagas sweeping two decades and half of America's history and of a Texan family caught in the air of social change, there is something of "Gone With the Wind" in the film with the vast deserted plains, the derricks, the cattle and Stetsons as backdrops, and wild and loud "Yee-haw" resonating in the horizon, it only lacks that historical magnitude but that actually fits the tone of the film. Stevens cares for the characters more than the plot in itself and it's from their actions, their words and their interactions that we can sense their evolution, for better or worse. Without being a character study, this is a film driven by people that never feel like individual archetypes, so the conflicts and arguments never lead to 'narrative' resolutions, like life.
And it's for this realistic fluidity, this mundane banality directed with pure 50's gusto, that you never feel the length but get carried in the flow of events, some happy, some sad, that affect the lives of these people, even Rock Hudson is effective as the patriarch of the family whose authority is constantly questioned, this is no Richard Dix in "Cimarron", this is a man, who is vulnerable but tries to hide it, a man who is so rooted in the heritage from the past that he doesn't see himself as an individual but as the link between his fathers and his sons. There's a moment where he realizes that his idealistic worship of traditions doesn't amount to a hill of a beans in the modern world, so he just accept Jett Rink's deal in a sort of "oh, what the heck" mindset, it was anticlimactic, but I liked it. The irony is that it improved his life without making Rink a better man.
"Giant" is a giant film by many aspects, great cast, great story (that Stevens put in "history"), and beautiful sweeping shots that allow us to measure the vastness of Texas, the generosity of its people... and their flaws, too. And like the two other James Dean's movie, it's also part of Hollywood history as the movie that allowed Dean to grace the screen one last time before being swept by a tragic Karma. What an omen that he had to 'age' for the film, he who never aged after that.
And the film didn't age either
James Dean steals every scene he's in, and even in his most bizarre and awkward moments, Dean actually contributes to the modernization of a tone that would have otherwise been deemed as conventional and old-fashioned. While the film's appeal doesn't rest on the shoulders of Dean (who is a supporting character, not leading, don't be fooled) paraphrasing Bick Benedict (Hudson), Dean is that bit of vinegar in the greens: he gives flavor.
It is quite ironic that the sourest character of the film is the one who supposedly exemplifies the American Dream, a young kid who inherited a small piece of land and was bought out as soon as he got it, for twice the value. Whatever awaits him, he knows it's a small price to get rid of a land, which is the only possible wealth (remember what Scarlett O'Hara's father said about it being the only thing worthy dying and fighting for, because it is the only thing that lasts) Jett Rink keeps the land, builds one derrick and then, years of labor pay off with oil gushing from land's womb. He's literally intoxicated with the climax of his efforts, he becomes rich, he gets the power but remains a hapless and bitter man. He didn't have Leslie, Bick's wife, played by Elizabeth Taylor.
The way I retell it might echo the line of Tony Montana about the American Dream, there is in Rink's "last supper" scene the surly mood of Tony in the restaurant, the disgust when confronted to the decadence of the one he thought to be his love. And from the visible failure of Rink, the movie ends with Bick telling Leslie that he's a failure because he invested all his time and work to have the biggest cattle of Texas so that his children could inherit it, one became a doctor and married a Mexican, one married a rancher who believes "big stuff is old stuff", and another is infatuated with his archenemy. It takes a wonderful concluding speech from Leslie, to remind him all the journey they went through during these 25 years, and how he started as a traditional rancher who despised Mexicans, and ended up risking his own neck to defend these "people" against racism, to have raised kids who were open enough to embrace other cultures and to have things "their way".
"Giant" does close the arc of their characters in such a way that we can only applaud the efforts of George Stevens and the writers who adapted the screenplay from the novel by Edna Faber, to make a powerful social comment about Texas and the many particularities of Texan culture from both a local perspective and an outsider's. The masterstroke is that Bick, the tough and towering rancher comes to buy a stallion in Virginia but comes back with an unexpected and more valuable catch, a delicate beauty who speaks for herself and shows more strength than the usual housewife. It takes a time to adapt to Texas' methods but from the way she handles her tough sister-in-law, played by Mercedes McCambridge, we know that a liberating wind will dust-off the place.
Indeed, I was surprised to see issues like racism and feminism tackled in a film that could have easily been deemed as traditional epic family sagas sweeping two decades and half of America's history and of a Texan family caught in the air of social change, there is something of "Gone With the Wind" in the film with the vast deserted plains, the derricks, the cattle and Stetsons as backdrops, and wild and loud "Yee-haw" resonating in the horizon, it only lacks that historical magnitude but that actually fits the tone of the film. Stevens cares for the characters more than the plot in itself and it's from their actions, their words and their interactions that we can sense their evolution, for better or worse. Without being a character study, this is a film driven by people that never feel like individual archetypes, so the conflicts and arguments never lead to 'narrative' resolutions, like life.
And it's for this realistic fluidity, this mundane banality directed with pure 50's gusto, that you never feel the length but get carried in the flow of events, some happy, some sad, that affect the lives of these people, even Rock Hudson is effective as the patriarch of the family whose authority is constantly questioned, this is no Richard Dix in "Cimarron", this is a man, who is vulnerable but tries to hide it, a man who is so rooted in the heritage from the past that he doesn't see himself as an individual but as the link between his fathers and his sons. There's a moment where he realizes that his idealistic worship of traditions doesn't amount to a hill of a beans in the modern world, so he just accept Jett Rink's deal in a sort of "oh, what the heck" mindset, it was anticlimactic, but I liked it. The irony is that it improved his life without making Rink a better man.
"Giant" is a giant film by many aspects, great cast, great story (that Stevens put in "history"), and beautiful sweeping shots that allow us to measure the vastness of Texas, the generosity of its people... and their flaws, too. And like the two other James Dean's movie, it's also part of Hollywood history as the movie that allowed Dean to grace the screen one last time before being swept by a tragic Karma. What an omen that he had to 'age' for the film, he who never aged after that.
And the film didn't age either
Overly long Texan family saga
tnrcooper25 April 2011
Warning: Spoilers
This story of life in Texas over the course of 30 years is intriguing, but it's very self-indulgent and I found the last hour to drag. I thought that covering a smaller period of time might have made the film more interesting, but as a study of characters and change over such a long period of time, I found it dull and self-indulgent.
Some very good acting. I'd never seen Rock Hudson in a movie and he is a compelling actor. One can't take one's eyes off him even when his rancher Bick Benedict is a petulant or immature. Hudson conveys decency even though he is grounded in the racism of his region and, try as he might, finds this tough to overcome. Hudson conveys the internal conflict Benedict experiences superbly and I was very, very impressed by him.
Liz Taylor as young Eastern debutante Leslie Benedict, charmed by Bick when he comes to buy her horse, is smoldering in her liveliness. She is charmed by Bick but does not give an inch in standing up for her beliefs and what she thinks is right. It is the fundamental aspect of her character that attracts Bick (and Jet Bink (James Dean)) to her. Her unconditional love for Bick, colored by her stubbornness, enable her to survive and flourish far from home.
James Dean as the humorously named Jett Rink is a ranch-hand who is trusted by Luz (Mercedes McCambridge). He is mercurial but knows the ins and outs of the ranch. Dean's performance here once again reminds us of what was taken from us with his death. In spite of his sudden, electrifying fame, he is able to portray a shy, reserved ranch hand very well during the first two-thirds of the film. When he rejects Bick's offer to buy him out, choosing instead to remain, possibly on a hunch about the contents of the land, the course of the remainder of the film is set. Ultimately Jett strikes it rich but at great cost. Dean's performance as Jett during Jett's later years is excellent.
Also excellent in the film is Mercedes McCambridge as Bick's tough, masculine sister Luz who resents losing her status as the lady of the manor at Reata, Dennis Hopper as the plucky, principled eldest son of Bick and Leslie, and Chill Wills as laconic uncle Bawley whose cool demeanor and counsel helps Bick and Leslie survive some tough times.
As I said, I found this movie overly long. If it had focused on a shorter time period and perhaps downplayed Jett's transformation, or even have been made into two films, I might be able to give it a higher mark, but given its interminable nature, and in spite of great acting from all-comers, I can only give it six out of ten.
Some very good acting. I'd never seen Rock Hudson in a movie and he is a compelling actor. One can't take one's eyes off him even when his rancher Bick Benedict is a petulant or immature. Hudson conveys decency even though he is grounded in the racism of his region and, try as he might, finds this tough to overcome. Hudson conveys the internal conflict Benedict experiences superbly and I was very, very impressed by him.
Liz Taylor as young Eastern debutante Leslie Benedict, charmed by Bick when he comes to buy her horse, is smoldering in her liveliness. She is charmed by Bick but does not give an inch in standing up for her beliefs and what she thinks is right. It is the fundamental aspect of her character that attracts Bick (and Jet Bink (James Dean)) to her. Her unconditional love for Bick, colored by her stubbornness, enable her to survive and flourish far from home.
James Dean as the humorously named Jett Rink is a ranch-hand who is trusted by Luz (Mercedes McCambridge). He is mercurial but knows the ins and outs of the ranch. Dean's performance here once again reminds us of what was taken from us with his death. In spite of his sudden, electrifying fame, he is able to portray a shy, reserved ranch hand very well during the first two-thirds of the film. When he rejects Bick's offer to buy him out, choosing instead to remain, possibly on a hunch about the contents of the land, the course of the remainder of the film is set. Ultimately Jett strikes it rich but at great cost. Dean's performance as Jett during Jett's later years is excellent.
Also excellent in the film is Mercedes McCambridge as Bick's tough, masculine sister Luz who resents losing her status as the lady of the manor at Reata, Dennis Hopper as the plucky, principled eldest son of Bick and Leslie, and Chill Wills as laconic uncle Bawley whose cool demeanor and counsel helps Bick and Leslie survive some tough times.
As I said, I found this movie overly long. If it had focused on a shorter time period and perhaps downplayed Jett's transformation, or even have been made into two films, I might be able to give it a higher mark, but given its interminable nature, and in spite of great acting from all-comers, I can only give it six out of ten.
Triumph of the skills
riderpridethemovie20 August 2005
Warning: Spoilers
Hey Brad Pitt! James Dean called and he wants his persona back. Seeing where Pitt's Thelma & Louise character came from is just one of the many treasures hidden in this good, often brilliant, epic. A few others: a wonderfully staged fist fight between Rock Hudson's Bick Benedict and Sarge, the racist owner of a diner. Fifty years later, they still don't make fist fights any better; the iconic scenes of the Mexican boy's return from war and subsequent funeral. Set up with the jubilant return of the white son-in-law, this is Riefenstahlesque in its capturing of American and Texas patriotism. When Bick hands over the Texas flag, try as you might you will have a lump in your throat. And all because Stevens is a master at withholding information. He shows Bick earlier at the flag case, but we don't know why. He shows the folding and presenting of the Stars and Stripes to the soldier's mother, then, without fanfare, Bick walks up and presents his Texas flag. Powerful, beautiful stuff; the scene in which Bick's tough-ass sister tries to break Liz Taylor's horse is a triumph of film-making, alternating between quick edits of the spurs digging in and a long shot of the horse bucking on the dusty ranch. The acting is too melodramatic, the film is too long and occasionally the anti-racist theme is a too obvious, but the tremendous film-making here makes up for it. An interesting comparison piece would be The Searchers. Ford obviously watched Giant and learned from its faults.
So different when you don't know the background
bsinc15 April 2005
Warning: Spoilers
I did not know James Dean died during late production of This movie, heck, I just now found out that he only starred in only three bigger movie roles in his sadly short life. And I would have looked at this movie very differently had I known all this, which luckily I avoided. We get influenced so quickly it's unbelievable. This movie was the highest grossing Warner Bros movie until "Superman" twenty years later. And I'm guessing it wasn't because the people got thrills out of all that cattle. One man made such an impact ("Titanic" anyone) and made the movie a cult one. And I am doing the same thin right now, writing about Mr Dean, but I don't have a slightest idea what he was about so I'll stop. There's Elizabeth Taylor, I particularly enjoyed the scene where she starts arguing with "the men" when they don't want to share their discussion with her because she showed such courage and determination to not just become one of the gals but was still a sophisticated and individual woman. And we have Rock Hudson, also a movie persona with a very interesting background. I spent about 20 minutes just discovering info about these actors here on IMDb and that's what it's all about for me. It's the clash of cult idols in "Giant", and I just pinned what was bothering me for the whole two hours. Who was the "Giant" anyway - it was all three of them all along.
A True Hollywood Oddity
Kevin-941 April 2015
Warning: Spoilers
Spoilers ahead.
So what happens in "Giant"? Or rather, what doesn't?
PLOT POINT: Handsome, successful, suit wearing Rock brings Liz back to his ranch, to live forever. Immediately upon her arrival, she meets James Dean, a troubled, boyishly handsome ranch hand closer to her age.
QUESTION: Will Liz find herself in a torrid love triangle, forced to choose between these two very different (but fascinating) men?
ANSWER: Nope. She has little, if any interest in Dean, and only shares a few minutes of screen time with him. He does appear to be interested in her. But whatever is going on psychologically inside the Dean character isn't well dramatized on screen. He's mostly a mystery, a withdrawn, silent character. He does little if anything to actually try to win Liz's heart. At the end of the film, he seems to suggest that his unrequited love for Liz drove all his actions and ruined his life. But given how little interest Liz took in him, Dean ultimately comes off more like an emotionally immature, lovesick teenager than some tragic figure. And the film doesn't even bother to give us a Liz/Dean scene at the end, to provide closure to this part of the story.
PLOT POINT: Upon her arrival, Liz also meets Rock's strong willed sister. She's been the queen of the ranch up until now.
QUESTION: Will Liz and the sister fight over who is in charge of the ranch, and Rock?
ANSWER: Nope. The sister dies shortly after Liz's arrival, in a completely arbitrary, random horse accident.
PLOT POINT: Dean inherits a small patch of land adjacent to Rock's ranch.
QUESTION: Will the two rivals, now living side by side wage war with each other in an epic battle for control?
ANSWER: Nope. They mostly get along with only minor problems. When Dean's wealth reaches new heights, Rock simply sells out.
PLOT POINT: Sal Mineo is introduced as a young man who is interested in ranch life, unlike Rock's own kids.
QUESTION: Will Mineo, in time, become Rock's surrogate son, and new ranch head?
ANSWER: Nope. Mineo is killed (off screen) during the war. The audience is subjected to a dull, unnecessary five minute funeral scene for his character. (While he was alive, all of Mineo's scenes combined represented about two minutes of screen time. The film inexplicably spends more time on his funeral than it did on him!)
PLOT POINT: Once grown, Rock's and Liz's kids want to do things with their lives that are different from what their parents want for them.
QUESTION: Will these disagreements create conflict in the family?
ANSWER: Nope. Rock lets the kids follow their hearts.
PLOT POINT: Rock's Latino daughter in law is refused service in the salon in Dean's huge hotel. Rock takes this as a very personal insult to his family by Dean. The two men fight.
QUESTION: Does this represent a satisfying climax to the film?
ANSWER: Nope. Technically, Rock is right. As the owner of the hotel/salon, Dean is ultimately responsible for what goes on there. But Dean doesn't seem like a racist. He's never said or done anything racist during the film. Also, Dean seems like an indifferent businessman, more lucky than smart. It's unlikely that he was even aware that these racist policies were even in place. Dean's culpability here is weak at best, and it seems like a tenuous foundation to build the climax of a three hour film on.
PLOT POINT: At the end of the film, Rock and his family visit a diner. While there, they notice that the owner refuses service to a Latino family, one that Rock has never met and has no connection to whatsoever.
QUESTION: Rock fights the manager, to express his outrage at the manager's racism, and to convince him to change this policy. The music score swells. Does Rock win? Does the final scene offer any kind of satisfactory conclusion to this would-be epic story?
ANSWER: Nope. Rock loses and the diner will continue its racist policy. The film attempts to end on a happy note, showing that Rock now cares about people of color. But Rock never expressed any racist views in any prior scene, so this doesn't represent substantive character growth. (His affection for Sal Mineo seemed to suggest a man with no race or class prejudices.) Even if Rock had won, it's just a conflict between two men at a diner. For a three hour film called "Giant," it feels like an oddly inconsequential ending.
So what happens in "Giant"? Or rather, what doesn't?
PLOT POINT: Handsome, successful, suit wearing Rock brings Liz back to his ranch, to live forever. Immediately upon her arrival, she meets James Dean, a troubled, boyishly handsome ranch hand closer to her age.
QUESTION: Will Liz find herself in a torrid love triangle, forced to choose between these two very different (but fascinating) men?
ANSWER: Nope. She has little, if any interest in Dean, and only shares a few minutes of screen time with him. He does appear to be interested in her. But whatever is going on psychologically inside the Dean character isn't well dramatized on screen. He's mostly a mystery, a withdrawn, silent character. He does little if anything to actually try to win Liz's heart. At the end of the film, he seems to suggest that his unrequited love for Liz drove all his actions and ruined his life. But given how little interest Liz took in him, Dean ultimately comes off more like an emotionally immature, lovesick teenager than some tragic figure. And the film doesn't even bother to give us a Liz/Dean scene at the end, to provide closure to this part of the story.
PLOT POINT: Upon her arrival, Liz also meets Rock's strong willed sister. She's been the queen of the ranch up until now.
QUESTION: Will Liz and the sister fight over who is in charge of the ranch, and Rock?
ANSWER: Nope. The sister dies shortly after Liz's arrival, in a completely arbitrary, random horse accident.
PLOT POINT: Dean inherits a small patch of land adjacent to Rock's ranch.
QUESTION: Will the two rivals, now living side by side wage war with each other in an epic battle for control?
ANSWER: Nope. They mostly get along with only minor problems. When Dean's wealth reaches new heights, Rock simply sells out.
PLOT POINT: Sal Mineo is introduced as a young man who is interested in ranch life, unlike Rock's own kids.
QUESTION: Will Mineo, in time, become Rock's surrogate son, and new ranch head?
ANSWER: Nope. Mineo is killed (off screen) during the war. The audience is subjected to a dull, unnecessary five minute funeral scene for his character. (While he was alive, all of Mineo's scenes combined represented about two minutes of screen time. The film inexplicably spends more time on his funeral than it did on him!)
PLOT POINT: Once grown, Rock's and Liz's kids want to do things with their lives that are different from what their parents want for them.
QUESTION: Will these disagreements create conflict in the family?
ANSWER: Nope. Rock lets the kids follow their hearts.
PLOT POINT: Rock's Latino daughter in law is refused service in the salon in Dean's huge hotel. Rock takes this as a very personal insult to his family by Dean. The two men fight.
QUESTION: Does this represent a satisfying climax to the film?
ANSWER: Nope. Technically, Rock is right. As the owner of the hotel/salon, Dean is ultimately responsible for what goes on there. But Dean doesn't seem like a racist. He's never said or done anything racist during the film. Also, Dean seems like an indifferent businessman, more lucky than smart. It's unlikely that he was even aware that these racist policies were even in place. Dean's culpability here is weak at best, and it seems like a tenuous foundation to build the climax of a three hour film on.
PLOT POINT: At the end of the film, Rock and his family visit a diner. While there, they notice that the owner refuses service to a Latino family, one that Rock has never met and has no connection to whatsoever.
QUESTION: Rock fights the manager, to express his outrage at the manager's racism, and to convince him to change this policy. The music score swells. Does Rock win? Does the final scene offer any kind of satisfactory conclusion to this would-be epic story?
ANSWER: Nope. Rock loses and the diner will continue its racist policy. The film attempts to end on a happy note, showing that Rock now cares about people of color. But Rock never expressed any racist views in any prior scene, so this doesn't represent substantive character growth. (His affection for Sal Mineo seemed to suggest a man with no race or class prejudices.) Even if Rock had won, it's just a conflict between two men at a diner. For a three hour film called "Giant," it feels like an oddly inconsequential ending.
a little slow but the film gets better and better
planktonrules20 February 2006
Warning: Spoilers
I saw this movie as a kid and didn't think much of it. The biggest thing I remember about it was how long the movie was and the calves' brains scene. Now, I just saw the film again and it changed my perspective quite a bit.
The first 1/2 of the movie didn't overwhelm me. Yes, it was good,...but certainly seemed far from great. The scenery was spectacular but rather dull after a while. And, the characters seemed a bit idealized--Elizabeth Taylor's character was sweet and Rock Hudson seemed more and more like a jerk. There didn't seem to be any sort of transcendent message.
However, as the film continued, the plot and characters evolved and you don't see that happen too often in films. While Rock was still a bit of an old fashioned guy, he became more and more decent and likable--culminating with the gut-wrenching scene in the restaurant. Then, when he and Liz were at home and she told him she had never been more proud of him than when he attacked this bully, it really made the movie for me. Its message of racism and change was well worth the VERY long wait.
The first 1/2 of the movie didn't overwhelm me. Yes, it was good,...but certainly seemed far from great. The scenery was spectacular but rather dull after a while. And, the characters seemed a bit idealized--Elizabeth Taylor's character was sweet and Rock Hudson seemed more and more like a jerk. There didn't seem to be any sort of transcendent message.
However, as the film continued, the plot and characters evolved and you don't see that happen too often in films. While Rock was still a bit of an old fashioned guy, he became more and more decent and likable--culminating with the gut-wrenching scene in the restaurant. Then, when he and Liz were at home and she told him she had never been more proud of him than when he attacked this bully, it really made the movie for me. Its message of racism and change was well worth the VERY long wait.
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