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Brick, an alcoholic ex-football player, drinks his days away and resists the affections of his wife, Maggie. His reunion with his father, Big Daddy, who is dying of cancer, jogs a host of memories and revelations for both father and son.
The only son of wealthy widow Violet Venable dies while on vacation with his cousin Catherine. What the girl saw was so horrible that she went insane; now Mrs. Venable wants Catherine lobotomized to cover up the truth.
Joseph L. Mankiewicz
Texan rancher Bick Benedict visits a Maryland farm to buy a prize horse. Whilst there he meets and falls in love with the owner's daughter Leslie, they are married immediately and return to his ranch. The story of their family and its rivalry with cowboy and (later oil tycoon) Jett Rink unfolds across two generations. Written by
Col Needham <email@example.com>
The newspaper shown announcing Angel Obregon's return has an article about Alfred Chester Beatty giving up his American "nationality" and becoming a British citizen. Beatty was a real person that did this in 1933. The newspaper shown is from that year when it should have been from sometime between 1941 and 1945. See more »
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!
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