James Dean had to die to become a star. True, he was the lead in Elia Kazan's East of Eden, but his two most successful films were released after his death: Rebel Without a Cause and Giant. He completed Giant just a few days before meeting his demise in a high speed car accident. (During post production, some of his lines were dubbed by Nick Adams, a supporting actor from "Rebel" who had a talent for mimicry.)
No doubt many teenagers flocked to see Giant in late 1956, and were surprised to find that Dean wasn't the star. Instead, the film documented the marriage between manly, bigoted cattle baron Jordan 'Bick' Benedict (Rock Hudson) and proud, regal beauty Leslie (Elizabeth Taylor). When Dean finally shows up, he's a curious character; a muttering, lonely, impoverished cowboy lovesick for Leslie, and jealous of Jordan's wealth and status.
The tagline for Giant was "the legendary epic that's as big as Texas". And as long as California, given the 201 minute running time. Giant is best described by the adjective overlong, as it is full of scenes that could easily be removed without sacrificing the basic story.
Perhaps the most obvious target is a lengthy funeral sequence for wimpy Sal Mineo, who also met a melodramatic end in Dean's Rebel Without a Cause. Another alumni from "Rebel" is young Dennis Hopper, who plays Hudson's eldest son. The soap opera surrounding the stormy marriage of Hudson and Taylor eventually extends to their children, whom once grown have dramatic love affairs of their own.
One of the film's many problems is that the story takes place over a quarter century. This requires Taylor and Hudson to age, gracefully but considerably. Director George Stevens (A Place in the Sun, Shane) accomplishes this by dying their hair blue, but leaving them otherwise unchanged. We are left with Taylor spending half the film pretending she is twice her age, with the bluest hair I've seen since John Forsythe was starring in "Dynasty".
The lead characters are somewhat unsatisfactory. Taylor is always right, Hudson is a stereotype of a swaggering, narrow-minded rancher, and Dean, after spending a lifetime setting up his moment of triumph, shows up dead drunk.
Giant is something of a morality play, preaching at length a message against ethnic discrimination. This is all well and good, but does it take violence to counter such discrimination? Admittedly, violence is dramatic, but what does it really prove, besides who is bigger? Gentleman's Agreement was far more effective with this theme.
The relationship between Dean and Hudson is curious. Hudson and his fellow ranchers have little regard for Dean, apparently because he was born without property, unlike Hudson. They seem most eager to buy Dean's small parcel of land. The only time they treat him with flattery is when they are trying to purchase it. It is if the ownership of the land will give him the respect that they are trying to deny him.
Dean makes his fortune in oil, even sharing that fortune with the ranchers. They still despise him, yet take the oil money. The ranchers, especially Hudson, are both arrogant and hypocritical throughout.
Giant was a box office blockbuster, grossing more than double its five million dollar production costs. The film was nominated for ten Academy Awards, including Best Picture, Best Actor (James Dean, Rock Hudson), and Best Adapted Screenplay (Fred Guiol, Ivan Moffat). George Stevens was the only winner, as Best Director. Giant was #82 on the AFI list of Top 100 films, a place that would seem to be undeserved. (53/100)
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