In 2005, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically or aesthetically significant".[4][5]
In the mid-1920s, wealthy Texas rancher Jordan "Bick" Benedict Jr. (Rock Hudson) travels to Maryland on a horse-buying trip. He meets socialite Leslie Lynnton (Elizabeth Taylor), and they marry and return to the Benedicts' Texas cattle ranch, Reata. Bick's older sister, Luz, runs the household and resents Leslie's intrusion. Leslie learns that she is expected to be subservient in the male-dominated Texas culture and that Hispanics are viewed as inferior to whites. Jett Rink, a ranch hand, becomes infatuated with her. When Jett drives her around the ranch, Leslie observes the Hispanic workers' terrible living conditions. She presses Bick to improve their situation and oversees the treatment of the infant son of Bick's ranch hand Angel Obregon, Angel, Jr.. Bick, however, is not receptive to his family doctor treating Hispanics.
Luz is killed while riding Leslie's horse, War Winds. Her will leaves a small piece of Benedict land to Jett. Bick, who despises Jett, offers to buy the property, but Jett refuses and names his land "Little Reata".
Leslie and Bick have twins, Jordan III ("Jordy") and Judy, and later another daughter, Luz II. The marriage becomes strained, and Leslie takes the children to her parents for an extended visit. Bick follows her to Maryland, and he and Leslie reconcile and return to Texas.
Jett continues working his land, striking oil. He flaunts his newfound fortune and tries to persuade Bick to let him drill for oil on Reata. Bick, determined to preserve his family's cattle ranching legacy, refuses.
Years later, in 1941, tensions arise regarding the now-grown Benedict children. Bick intends that Jordy will succeed him and run the ranch, but Jordy wants to become a doctor. Leslie plans for Judy to attend finishing school in Switzerland, but she wants to study animal husbandry at Texas Tech. Each sibling convinces one parent to persuade the other to allow them to pursue their own goals.
At the family Christmas party, following the attack on Pearl Harbor, Bick offers Judy's new husband, Bob Dace, the opportunity to work on the ranch after the war ends. Dace declines, wanting to build his own life with Judy. Realizing that his children will not take over the ranch when he retires, Bick accepts Jett's offer to allow drilling on Reata. The Benedicts grow wealthier and more powerful. The war ends with Bob's safe return, but Angel Obregon, Jr., is killed in action. Jordy marries Juana, the daughter of the ranch's Hispanic doctor who treated Angel as a baby.
At his Austin hotel, Jett hosts a huge party in his own honor and invites the Benedicts. Jett and Luz II have developed a flirtatious relationship that ends after Luz rejects Jett's awkward proposal. Jett becomes drunk and prohibits his staff from serving Hispanics; consequently, Juana is ignored at the hotel beauty shop. Enraged, Jordy starts and loses a fight with Jett, who then has him thrown out. Bick challenges Jett but, seeing that the drunken Jett is in no state to defend himself, he and the other Benedicts leave. Jett passes out as he attempts to give his speech in front of the packed ballroom. Later, Luz II hears him bemoaning his unrequited love for Leslie and leaves heartbroken.
Driving home the next day, the Benedicts stop at a diner. Sarge, the owner, insults Juana and her and Jordy's young son with a racial slur. When Sarge tries to eject a Hispanic family from the diner, Bick intervenes and a fight ensues. Bick refuses to quit in spite of a terrific beating; finally he is knocked unconscious. Back at Reata, he laments failing to preserve the Benedict family legacy. Leslie replies that, after the diner fight, he was her hero for the first time and she considers their family legacy a success. They look at their two grandsons, one white and one Hispanic.
Ferber's character of Jordan Benedict II and her description of the Reata Ranch were based on Robert "Bob" J. Kleberg Jr. (1896–1974) and the King Ranch in Kingsville, Texas. Like the over half-million-acre (2,023.4 km2) Reata, King Ranch comprises 825,000 acres (3,340 km2; 1,289 sq mi) and includes portions of six Texas counties, including most of Kleberg County and much of Kenedy County, and was largely a livestock ranch before the discovery of oil. The fictional character Jett Rink was inspired partly by the extraordinary rags-to-riches life story of the wildcatter oil tycoon Glenn Herbert McCarthy (1907–1988). Author Edna Ferber met McCarthy when she was a guest at his Shamrock Hotel in Houston, Texas, the fictional Emperador Hotel in both the book and the film.
Casting
The Australian actor Rod Taylor was cast in one of his early Hollywood roles after being seen in an episode of Studio 57, titled "The Black Sheep's Daughter".[6]
Stevens gave Hudson a choice between Elizabeth Taylor and Grace Kelly to play the leading lady Leslie. Hudson chose Taylor.[7]
George Stevens had a reputation as a meticulous film editor, and the film spent an entire year in the editing room.[8]
After James Dean's death late in production, Nick Adams overdubbed some of Dean's lines, which were nearly inaudible, as Rink's voice.[9]
Filming
Cast members and crew at work on the Reata mansion set. The Second-empireVictorian mansion facade designed by Boris Leven became an iconic image for the film.
The film begins with Jordan "Bick" Benedict, played by Hudson, arriving at Ardmore, Maryland, to purchase a stallion from the Lynnton family. The first part of the picture was actually shot in Albemarle County, Virginia, and used the Keswick, Virginia, railroad station as the Ardmore railway depot.[10]
Much of the subsequent film, depicting "Reata", the Benedict ranch, was shot in and around the town of Marfa, Texas, and the remote, dry plains found nearby, with interiors filmed at the Warner Bros. studios in Burbank, California.[11] The "Jett Rink Day" parade and airport festivities were filmed at the Burbank Airport.
Music
The Oscar-nominated musical score was by Russian-born composer and conductor Dimitri Tiomkin, who conducted the Warner Brothers Studio Orchestra.
Themes
The movie is an epic portrayal of a powerful Texas ranching family challenged by changing times and the coming of big oil.[12] A major subplot concerns the racism of many Anglo-European Americans in Texas during the mid-twentieth century, and the discriminatory social segregation enforced against Mexican Americans.[13] In the first third of the film, Bick and Luz treat the Mexicans who work on their ranch condescendingly, which upsets the more socially conscious Leslie. Bick eventually comes to realize his moral shortcomings – in a climactic scene at a roadside diner he loses a fistfight to the racist owner, but earns Leslie's respect for defending the human rights of his brown-skinned daughter-in-law and grandson. Another subplot involves Leslie's own striving for women's equal rights as she defies the patriarchal social order, asserting herself and expressing her own opinions when the men talk. She protests being expected to suppress her beliefs in deference to Bick's; this conflict leads to their temporary separation.[14]
Giant is Edna Ferber's third novel dealing with racism; the first was Show Boat (1926), which was adapted into the legendary Broadway musical Show Boat (1927); her second was Cimarron (1929), which was adapted to film twice, in 1931 and 1960.[15][16] Ferber's Giant was a blockbuster, selling 52 million books by 1956.[17]
Release
Giant premiered in New York City on October 10, 1956,[18] with the local DuMont station, WABD, televising the arrival of cast and crew, as well as other celebrities and studio chief Jack L. Warner.[citation needed] The picture was released to nationwide distribution on November 24, 1956.[18]
Capitol Records, which had issued some of Dimitri Tiomkin's music from the soundtrack (with the composer conducting the Warner Brothers studio orchestra) on an LP, later digitally remastered the tracks and issued them on CD, including two tracks conducted by Ray Heindorf. Both versions used a monaural blend of the multi-channel soundtrack recording.[citation needed]
Home media
The film was released on DVD on June 10, 2003.[19] The DVD includes more than three hours of documentaries.[19] The out of print Blu-ray was released on November 5, 2013, as part of the James Dean Ultimate Collector's Edition set, and as an individual DigiBook release followed by a non-DigiBook Blu-ray on March 11, 2014. Those releases contained three discs including two DVDs with all the extras from the 2004 release. The full length George Stevens: A Filmmaker's Journey documentary is also included on one of the DVD discs. The manufacture-on-demand 4K Ultra HD release of the film released on June 21, 2022, through Studio Distribution Services.[20]
Reception
As of October 2024[update], Giant holds an 86% fresh rating on Rotten Tomatoes based on 51 reviews, with an average rating of 7.7/10. The critical consensus reads, "Giant earns its imposing name with a towering narrative supported by striking cinematography, big ideas, and powerful work from a trio of legendary Hollywood leads."[21]Metacritic, which uses a weighted average, assigned the film a score of 84 out of 100, based on 15 critics, indicating "universal acclaim".[22]
Giant won praise from both critics and the public, and according to the Texan author Larry McMurtry, was especially popular with Texans, even though it was sharply critical of Texan society.[12]Bosley Crowther of the New York Times wrote that "George Stevens takes three hours and seventeen minutes to put his story across. That's a heap of time to go on about Texas, but Mr. Stevens has made a heap of film." He continued to write that "Giant, for all its complexity, is a strong contender for the year's top-film award."[23]
Variety claimed that Giant was "for the most part, an excellent film which registers strongly on all levels, whether it's in its breathtaking panoramic shots of the dusty Texas plains; the personal, dramatic impact of the story itself, or the resounding message it has to impart."[24]
In the 21st century, TV Guide gave the film four stars out of five, writing of James Dean's performance: "This was the last role in Dean's all-too-brief career – he was dead when the film was released – and his presence ran away with the film. He performs his role in the overwrought method manner of the era, and the rest of the cast seems to be split between awe of his talent and disgust over his indulgence."[25]
Less complimentary was director and critic Francois Truffaut, who, in an early review,[when?] called Giant a "silly, solemn, sly, paternalistic, demagogic movie without any boldness, rich in all sorts of concessions, pettiness, and contemptible actions."[26]
Box office
Giant was a huge box-office success. The film earned $35 million in ticket sales during its original studio release in 1956, a record for a Warner Brothers film until that time. This record was not surpassed until the Warner film Superman in the late 1970s.[27][28]
The movie earned $12 million in rentals in the United States and Canada during its initial release.[29] It did not perform as well in other markets where it made around half as much,[30] but it was one of the biggest hits of the year in France, with admissions of 3,723,209.[31]
Giant is considered to be the inspiration for the hit 1980s television drama Dallas. Both productions focus on the struggle between wealthy oilmen and cattlemen in Texas in the mid to late 20th century. In addition, both productions have an antagonist with the initials J.R.[36]
In 1978, Martin Scorsese wrote about the movie as a guilty pleasure:
I've seen this film over forty times. I don't like the obvious romanticism, and it's very studied, but there's more here than people have seen. It has to do with the depiction of a life style through the passage of so many years. You see people grow. I like James Dean; I like the use of music, even though Dimitri Tiomkin did it; I like Boris Leven's image of the house, and the changes in the house; I like the wide image of Mercedes McCambridge riding the bronco, then cut to an extreme closeup of her hitting the bronc with her spur, then back to the wide image. As far as filmmaking goes, Giant is an inspiring film. I don't mean morally, but visually. It's all visual.[37]
The making of Giant was the background to the play and movieCome Back to the 5 & Dime, Jimmy Dean, Jimmy Dean.
In 1981, in a Levi Strauss ad campaign and television commercial that launched the 501 Jeans for women, an actress says: "Travis, you're years too late", evoking a scene from the movie with James Dean.[38][39][40]
^Stephen Vagg, Rod Taylor: An Australian in Hollywood, Bear Manor Media, 2010 p49
^"Giant: Summary and Notes". Catalog of Feature Films. American Film Institute. Retrieved November 17, 2022. According to modern and contemporary sources, Grace Kelly was sought for the role of Leslie Benedict. Modern sources claim that once her engagement to Prince Rainier of Monaco was announced, however, M-G-M decided not to loan her out for Giant. Elizabeth Taylor, who ultimately received the highly desirable role, was also under to M-G-M, which loaned her out to Warner Bros. Modern sources also claim that Hudson, when given the choice of his leading lady by Stevens, chose Taylor.
^Gary M. Cramer, "'Giant': A giant book about a giant film," Philadelphia Inquirer, May 3, 2018.
^Martin Scorsese's Guilty Pleasures
Scorsese, Martin. Film Comment; New York Vol. 14, Iss. 5, (Sep/Oct 1978): 63-66
^"Buy the Seat of Our Pants". fyi. Forbes. Retrieved January 22, 2023. A young ad man channels James Dean, and scores the biggest number in the denim business.
Giant essay by Daniel Eagan in America's Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry, A&C Black, 2010 ISBN0826429777, pages 515–516
_poster.jpg)
.jpg)
