One of the greatest ironies of popular culture is that some of its greatest icons became immortal simply by dying young at the height of their stardom. Few people epitomised this phenomenon as James Dean did, an actor who tragically ended his life at the age of 24 with only three feature films in his filmography, yet who became one of the most recognisable Hollywood icons. Dean’s tragic death not only helped him, but also helped the reputations of his films, most notably his last, the 1956 epic drama Giant, directed by George Stevens.
The plot is based on the eponymous best‑selling novel by Edna Ferber and set in Texas. It begins in the 1920s when the nominal protagonist, young rich rancher Jordan “Bick” Benedict Jr. (played by Rock Hudson) travels to Maryland in order to buy horses. There he meets and immediately falls in love with socialite Leslie Lynton (played by Elizabeth Taylor). The two marry and return to Bick’s ranch Reata, but Leslie soon learns that her new life won’t be idyllic. Her sister‑in‑law Luz (played by Mercedes McCambridge) dislikes her. She, as an educated and free‑spirited woman, is at odds with Texan culture that expects women to stay at home and be subservient to their husbands. She is also appalled by the racist prejudice rich Texans, including her husband, show to their Mexican‑American workers. The main source of tension at Reata is, however, Jett Rink (played by James Dean), a ranch hand from a modest background who feels unrequited love towards Leslie. When Luz dies, she leaves a small plot of land to Jett, who refuses to sell it and later becomes wealthy when it turns out that the land contains oil deposits. Decades pass and Jett begins an affair with Bick’s daughter Luz II (played by Carroll Baker), while Bick’s son Jordan “Jordy” III (played by Dennis Hopper) decides to break with family tradition, become a doctor, and break further conventions by marrying a Mexican‑American girl.
Giant was one of the most successful films of its time. Apart from having impressive results at the box office, it received rave reviews and George Stevens was awarded an Oscar for Best Director. Yet, few serious critics and film scholars now would call it an undisputed classic. A convincing case can be made that much of its success came because of the publicity created by the sudden death of one of its main stars, which occurred shortly after the end of principal photography. On the other hand, it would be unfair to dismiss Giant as a bad or simply overhyped film. George Stevens was one of the more talented and versatile Hollywood directors of his generation, known for classics like A Place in the Sun and Shane. His disciplined touch and successful handling of a big budget are quite evident throughout more than three hours of running time. Stevens took the title of Ferber’s novel very seriously and he depicts Texas, the biggest U.S. state, with a grandeur worthy of the epic “larger‑than‑life” films Hollywood used to make at the time. Helped by a soundtrack by veteran film composer Dmitri Tiomkin and cinematography by William C. Mellor, he uses the vast open spaces of Texas to make everything look bigger, epic, and important. There is an obvious socioeconomic and cultural context to the film. Like Ferber’s novel, the film is inspired by real people and real changes that occurred in Texas between the 1920s and 1950s, most notably the power shift from the traditional cattle‑rancher elite to nouveau riche entrepreneurs who became filthy rich by striking oil.
However, what most people remember about this film is the cast. Elizabeth Taylor, with whom Stevens had worked in A Place in the Sun, delivers one of her finest performances, playing a woman who goes through major changes and faces various challenges through the decades. For Rock Hudson the role of Bick, a traditional cattle rancher who begins by following tradition before gradually reconciling with change, was a ticket to stardom and Giant ultimately confirmed him as one of the greatest leading men of 1950s Hollywood. Ironically, Dean, who is now best remembered among the cast, had third billing and Jett Rink is almost a supporting character. Dean plays it very well, making him into a clear villain, although allowing the audience to find sympathy for him due to his poverty and unrequited love; his final scene, when he is morally defeated despite all his wealth, is a very emotional moment. Ironically, Dean, with his Method‑acting techniques which Elia Kazan and Nicholas Ray, directors of his two previous films, had encouraged, had serious problems with the no‑nonsense traditionalist Stevens, who didn’t like actors indulging in unnecessary experiments.
One of the greatest ironies of Giant is that this film is the hardest to reconcile with the image of James Dean as an icon of youthful anti‑establishment rebellion. Giant actually represents the most mainstream of all Dean’s films and, even with Stevens showing that his heart was in the right place with an anti‑racist message, it is difficult to set apart from most other big‑budget epic Hollywood films of its time. The most obvious reason lies in the melodramatic script that would later serve as inspiration for American television soap operas, most notably Dallas in the 1970s. On the other hand, the cult of James Dean helped make Marfa, Texas, the small town which served as a location for the troubled production, into a minor tourist attraction. Fifty years after Giant, Marfa also served as a location for There Will Be Blood and No Country for Old Men.
RATING: 6/10 (++)
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