The Big Country (1958)

User Rating:

7.8/10   

Director:

William Wyler

Writers:

Donald Hamilton (novel)
Jessamyn West (adaptation) ...

Release Date:

1 October 1958 (USA)

Genre:

Drama | Romance | Western

Tagline:

Big they fought! Big they loved! Big their story!

Plot:

A New Englander arrives in the Old West, where he becomes embroiled in a feud between two families over a valuable patch of land.

Plot Keywords:

Sea Captain | Ranch | Cattle | Beautiful Woman | Water Rights

Awards:

Won Oscar. Another 3 wins & 4 nominations

Cast

Gregory Peck	...	James McKay
Jean Simmons	...	Julie Maragon
Carroll Baker	...	Patricia Terrill
Charlton Heston	...	Steve Leech
Burl Ives	...	Rufus Hannassey
Charles Bickford	...	Maj. Henry Terrill
Alfonso Bedoya	...	Ramón Guiteras
Chuck Connors	...	Buck Hannassey
Chuck Hayward	...	Rafe Hannassey
Buff Brady	...	Dude Hannassey
Jim Burk	...	Blackie / Cracker Hannassey
Dorothy Adams	...	Hannassey woman
Chuck Roberson	...	Terrill cowboy
Bob Morgan	...	Terrill cowboy
John McKee	...	Terrill cowboy

Runtime:

165 min

Country:

USA

Language:

English | Spanish

Color:

Color (Technicolor)

Aspect Ratio:

2.35 : 1

Sound Mix:

Mono (Westrex Recording System)

Certification:

USA:Approved (PCA #18972) | Canada:PG (Ontario) | Australia:PG | USA:Not Rated (DVD) | Finland:K-16 | Sweden:15 | UK:PG | West Germany:12

Filming Locations:

California, USA

Company:

Anthony Productions

Trivia:

Alfonso Bedoya's last film. A longtime alcoholic, he died before it was released.

Goofs:

Continuity: When Steve Leech first picks up Jim McKay in the buckboard he drives past Buck Hannassey and gang standing outside the saloon mocking Steve. The sun is nearly down as the shadows are very long. Steve then drives around the corner to Julie's house and now the sun is directly overhead.

Quotes:

Patricia Terrill: Well, even when you rode Old Thunder, everybody knew it. Ramon knew it. Julie knew it. But me? Not a word. Why? You know how much it meant to me... with everybody laughing at me. And don't tell me they weren't. But you wouldn't do it for me. Why not? Why not for me?
James McKay: There's some things a man has to prove to himself alone... not to anyone else.
Patricia Terrill: Not even to the woman he loves.
James McKay: Least of all her... if she loves him.

Movie Connections:

Edited into Bass on Titles (1977)

Big entertainment, bigger music.

As several characters state in the film, "This is a big country" and THIS is a BIG MOVIE. It screams out for widescreen viewing. Many of the characters are largely and broadly drawn with big strokes (stubborn Peck, fiery Baker, resentful Heston, righteous Simmons, imperious Bickford, cantankerous Ives and slithering Connors) yet they all are dwarfed by the huge landscape. Tall men, horses, trees and houses are all presented as so many ants on an ant hill in many of the images. The film has a compelling story and intriguing interpersonal relationships and rivalries which are all enhanced by this larger than life approach. The landscape is sometimes awe-inspiring, notably in the Blanco Canyon scenes near the end of the film. Peck is appropriately straight-laced and uncomfortable in this rough & tumble setting, lovely Simmons is a likable heroine and Baker is an effective daddy's girl with misplaced affections. Connors acquits himself very nicely as a thoroughly detestable punk. Heston comes off extremely strong in this film. He's completely at home and was probably never more handsome (check out the scene in which he's roused from his bed by Peck!) He makes the most out of this secondary role. Bickford and Oscar-winning Ives make a great pair of adversaries...almost makes one wish for a prequel to see what got these two so riled up (but today's filmmakers couldn't be counted upon to do it in a tasteful, classy way.) Memorable scenes include the taunting of Peck by Connors and his brothers, Ives grand entrance into Bickford's house and an almost legendary fight scene between Heston and Peck. All of the above are raised to an even higher plane of excellence by what must be one of the greatest musical scores in film history (western or otherwise.) Jerome Moross composed several themes (the opening title is the best known) which put this film into a whole new category of enjoyment. The score stands alone as a beautiful listening experience and paired with the images in this film, it is amazing. It occasionally seems intrusive, yet knows when to keep quiet as well. The Oscar that year went to Tiompkin's "Old Man and the Sea", but it seems astonishing that anything could have bested this score. The film's only real flaw is slight overlength, but nothing really stands out as aching to be cut! Maybe just bits and pieces....but, really, the story just takes it's time and builds to some stirring moments.