The Big Country transcends the confines of its own genre

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	• Big Country (1958) [VHS] Gregory Peck, Jean Simmons MGM (Video & DVD), 1994 average customer review:based on 123 reviews view larger image
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highly recommended

a lovely liberal fantasy

A very well acted enjoyable movie that is not what you think it is when you first see it. Upon first viewing, its maturity and reason are impressive. I saw it first as a teenager and loved McKay (Peck), the educated cool easterner among hot headed, seemingly thick headed, westerners. McKay is relaxed, non aggressive, eschews violence, values reason. Yet he is very masculine and very handsome (and Peck is unbelievably good looking). Leech the overtly macho man, strong and powerfully built (Heston), every motion and gesture brimming over with testosterone, calls him a liar, but McKay refuses to be goaded into a fight. His fiancé (Carroll Baker) is ashamed and disgusted by this seeming cowardice. Later, without anyone knowing, when all are asleep, McKay goes to Leech and offers to fight him. They fight to a draw. Leech for the first time gets some respect for Mckay. He sees that he is not a coward, that he has honor, and manhood.

McKay also refuses to ride a wild mustang in front of everyone. He refuses to prove himself. Later he goes out and breaks the horse by himself.

He can fight as good as the most masculine man. He is a real man. Yet at the same time he questions the values of those who are more conventionally masculine. This is how the movie is set up. By having McKay verbally refuse to do these things, the movie makes it seem as if a genuine inquiry is being presented to us by the Peck character. That is how it seemed to my teenage mind. The movie seems to say Violence is bad. A real man does not have to be aggressive or violent. But now I question the way these values are presented in the movie. In the end it gives you the same old Hollywood ending, which because of the issues raised make it seem even more false than usual.

Peck is the soft man who rejects violence, yet who can fight as well as the tough guy, who if he does fight, will win because he is as strong, maybe stronger, than the more masculine seeming man. It is the old iron hand in the velvet glove. He appears soft but is not. He can take on a wild horse and win. This is more false than the fantasy of the strong John Wayne or Heston type who wins the battle. In the old fantasy, the man who cares about fighting and winning does that. The man who appears like he can't fight can't. Yet the new fantasy tells us this is not so. So in the new fantasy, you get to look down on violence and at the same time employ it. Our hero does not like violence, but he can fight and win with the best of them. This is the lie. In the end, our soft spoken guy, who is a bit intellectual like, can whip anyone.

A movie maker that really wanted to address cowardice and what makes a man a man would make the character not so tall and handsome. It would have been more brave to have him lose the fight with Leech. It would have been still braver to have him not fight at all and to see how that went down. He should not have ridden the horse. Maybe we should have had a scene where the horse threw him and he gave up trying to tame it. That would have been a challenge to the audience and the characters in the movie. Could we still respect him after losing the fight. If he could not win the fight or would not fight, what then would his manhood consist of? What if we had a scene with him getting beat up by Leech and we see how the Jean Simmons character (the one who really loves him) reacts to that.

As it plays out, his actions are childish and immature. But admirable ultimately. He must sneak away in the dead of night to reclaim his manhood. In the end, his values are not that different from that of the overtly manly macho guy. He values his honor. He cannot bear to be called a coward. On the one hand, he is not happy that his fiancé expects him to prove himself by fighting. He wants her to love him despite his seeming cowardice because he needs her to realize that he is not really afraid to fight. He wants her to realize that inside he is a macho man. So although seeming to reject her values, he actually respects them. He still must go and fight.

So the woman loves the man who acts like he won't fight who deep down inside knows he must fight and who will fight and who will be victorious.

On top of everything else, he is rich. He buys a coveted piece of land. So he is the perfect hero out of a book, soft spoken, modest, quiet, sensitive, but at the same time very self confident, totally secure in himself, physically strong, able to use violence as well as any macho man, and wealthy to boot.

We are told that McKay's attitude towards violence came about because his father died in a duel and no one can remember what it was about. We are supposed to think that dueling is nonsense, which it is to us. But dueling for many centuries in many cultures was taken very seriously. It involved honor and insults to honor, just as in the inner city today, we hear of violence provoked over a "dis." The violence resulting from the "dis" is often attributed to the supposed weakness of the inner city dwellers. Yet for a long time, dueling for what seems like nonsensical reasons was the prerogative of aristocrats, the wealthy and powerful.

I am not arguing we should act like this, only that such behavior has deep roots in human culture and that we should not always say everything in the past is due to inexplicable stupidity.

And in the end, he rescues his love like any hero should. The romance with Jean Simmons, the growth of their affection is very affecting. Just the way they look at each other is really great. You see love, although I don't think they touch each other once in the movie. We can see that they are made for each other. She understands him, his strength and also his weakness. She sees beneath the educated exterior to the real man. His fiancé can't do that. She belongs with Leech, the overtly masculine man. It is a lovely tale on many different levels, a lovely fantasy.

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MGM....Help!!!

Next to "The Magnificent Seven", this is my favorite western film. The actors, the story, the locations and most of all, the MUSIC. Why in the world MGM has such a poor quality DVD on the market. And in MONO. One of the best musical scores in mono? I was at a collectors show about 4 years ago and found a CD of the entire score, released only in Australia. Over 70 minutes of that great music. It was expensive, but I could not write the check fast enough. I keep a copy in my car all the time. I wish I knew who to write to at MGM about releasing the film and the music in a re-mastered form. And even, oh my gosh, Blue-ray. A film such as this, should be seen and heard in the best possible form. I love it and will keep watching and listening to what I have until something better arrives on the market. When it is, I'll buy it ASAP.

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The Big Country: A Big Experience

The Big Country (1958)

William Wyler did a magnificent job directing THE BIG COUNTRY. You won't see many films as well constructed. The story of a New England sailor, James McKay (Gregory Peck), who enters the Old West, is told so effectively, the 165 minute run-time seems half that length.

The plot concerns McKay, who unwittingly enters the family feud between the Hannasseys and the Terrills. Both families are cattle ranchers who rely on Julie Maragon (Jean Simmons) who owns 'The Big Muddy', a stretch of land that controls the water flow in the area. Essentially, the film follows McKay, as he endlessly struggles; with his feelings for his betrothed, Patricia Terrill (Carroll Baker); with the envy of chief Terrill ranch-hand Steve Leech (Charlton Heston); and with the blood-lust, pride and tradition of his prospective father-in-law, Major Henry Terrill (Charles Bickford).

Aside from Julie Maragon, the only character who is quick to understand McKay is patriarch Rufus Hannassey (Burl Ives), who is nevertheless, blinded by his own need for revenge. Worse yet, is Rufus' son Buck (Chuck Connors), who is a character foil to McKay, and symbolizes everything low and cowardly. While dealing with this largely unsavoury cast of characters, McKay tries to stay true to himself.

My favourite scene involves a fist-fight between Heston and Peck. But it is not the fight which is principally arresting. Rather, it is the backdrop of the fight ... an early morning sky with a shock of blue Technicolor light. This background gives the scene a certain ethereal majesty, and is reminiscent (probably intentionally) of Jacob fighting the angel to a standstill in the Book of Genesis. A most memorable, beautiful visual experience.

Every facet of the film was above par. The writing, Jerome Moross score, the cinematography, editing; everything clicks. Kudos to Gregory Peck, Charlton Heston, Charles Bickford, Burl Ives, and Chuck Connors for superlative performances.

I look forward to this release on Blu-ray, where I hope a remastered edition will correct current picture deficiencies.

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Great Western

Great cast..Burl Ives won an oscar. Gregory Peck is absolutely grand in this movie. Jean Simmons is beautiful as always. Has some humor and seriousness to it. An excellent love story and drama all wrapped into one. Depics old western landowner feuds in good taste. Has great color film for as old as it is. Chuck Connors is a surprise as he turns out to be a coward. Once again, the majestic mountains of the west prove to be another hit western. Must SEE!!

The Big Country transcends the confines of its own genre

THE BIG COUNTRY (1958) Starring Gregory Peck, Charlton Heston, Jean Simmons, Carol Baker, Burl Ives, Charles Bickford and Chuck Connors.

Well, let me start by saying that this is one of my favorite films of all time and not just in the western category. It's a movie that transcends the confines of its own genre. From the moment the movie starts...with that amazing Jerome Moross score, you know you're in for something special. The music in this film is, for me at least, one of the main characters. The first shot...of the stage coach riding across the huge expanse of this "Big Country" carries us through the credits with shots of a spinning wagon wheel super imposed on scenes of a vast frontier accompanied by a rousing musical score.

The stagecoach arrives at its destination with James McKay (Gregory Peck) in tow from the east...a former navy man and retired ships captain whose family owns a shipping line. The film quickly establishes him as the quintessential "fish out of water" with his eastern clothes and bowler hat that is quickly made fun of by the locals. Peck has come to marry Carol Baker...a pretty, headstrong blonde that Peck met when she visited the east coast. Peck is met at the station by Charlton Heston as Steve Leech, foreman of the ranch that belongs to Bakers father, Henry Terrill aka "The Major" played by Charles Bickford. Heston takes an instant dislike to Peck as he is also in love with Baker. Peck and Baker are reunited at the house of Bakers best friend Jean Simmons.

Soon, Baker and Peck are off to Bickfords ranch...a giant expanse of land which he owns almost as far as the eye can see. On the way to the ranch, Peck and Baker are harassed by members of the "Hannassey" family. The Hannassey's are a more scruffy and financially humble family with an empire of their own hidden away behind the bleached stone cliffs of "Blanco Canyon" and led by Hannassey family patriarch Burl Ives. Connors playes Ives oldest son. Connors and his brothers subject Peck to a little hazing which Peck takes rather good naturedly. Baker however is outraged and pulls out a shot gun to shoot at the drunken ruffians. Peck stops her and the situation is soon diffused. But Peck is somewhat surprised by Bakers extreme reaction of hate. Soon they are at Bakers home..Ladder Ranch.

Peck soon meets Major Terrill, a hard man who is drawn to Pecks "gentlemanly forbearance". Peck gives the Major his fathers old dueling pistols as a gift. Here we see glimpses of the origins of Pecks peaceful demeanor. His father was killed in a duel. Peck tells Bickford how "nobody knows what that last duel was even about". Bickford warns Peck that here in the west a man is still expected to defend himself. Peck soon discovers to his dismay the extent of this feud between the Terrills and the Hannasseys when he sees that the Major and Heston are taking a group of men to beat the tar out of the drunken brothers. Heston asks Peck to come along for a little revenge but Peck wants no part of it.

Later, at Peck and Bakers engagement party we find out more about this feud. It seems that Jean Simmons is the sole owner of her family's ranch the "Big Muddy". It is the main source of water for cattle for both the Terrills and the Hannasseys. She lets both families use all the water they want, but both are constantly trying to get her to sell her land to them so that each man might use it to cut off the others water supply for their cattle, effectively destroying their enemies' respective empires. Over the course of the film, Peck becomes even more deeply embroiled in the feud as he takes more proactive steps to prevent violence and bloodshed. But try as he might...he soon discovers that in this "Big Country" bloodshed is inevitable.

Of course we know that there will be a confrontation between Peck and Heston. But it isn't like any traditional "western brawl" that we have seen before. It's not just a fight over a girl, or for honor. The fight is more symbolic than anything. Especially given Pecks line after it's all over. As the two men stand, totally alone, bruised and bloody, Peck puts the whole thing into perfect perspective when he asks Heston...

"So tell me...what did we prove?"

This simple line speaks volumes about the senselessness of violence and reminds one of films such as Clint Eastwoods "Unforgiven".

The finale is nothing less than spectacular. Suspenseful and exciting confrontations all around and not at all in the way you might expect from a more traditional western from the period.

I think the films biggest problem is the actual print. On the DVD of the film, while some scenes are crisp and clear and beautiful, others seem fuzzy with washed out color. There are moments where it seems there are frames missing and we see quick split second jumps. It definitely needs some more restoration I feel. The sound is excellent. The film runs at just about 2 hrs and 45 minutes. I've heard critics say they felt it was too long, but I disagree. There is a specific pacing to this film that has a natural flow to it. There are no rushed scenes and then long boring scenes. Scenes gradually play out and build to a crescendo...sometimes fooling us, and then rewarding us with surprises we didn't see coming. Wyler films it with a wonderful consistency. It must also be said that it is imperative that this is watched in its original aspect ratio. The pan and scan version on VHS ruins several scenes in my opinion. In particular a scene between Baker, Peck and Heston at breakfast and later a scene between Peck and Simmons. And then at the end, during the major confrontations and battles. All these scenes need to be seen in wide screen.

I enjoy all the characters. Baker does get slightly grating near the end. She has a great scene where she slaps Heston with her riding crop. Heston grabs her wrists and pulls her to him and kisses her roughly. She bits his lip and draws blood. In the after math of the incident between them...she tries to fix her mussed hair and starts to tremble and throws a major breakdown. Nice scene. Simmons doesn't really have a lot of scenes but they are integral and there is an attempted rape scene that is very intense and she is very good in it. It's easy to see how Ives won the best supporting actor Oscar here, he is great. And I don't think I need to go on anymore about the Oscar nominated score. It's brilliant and emotional and exciting and a crucial part of this films success.

This is one of those films in which I love the story and the characters so much that I want to know more. I want to see a prequel and find out the source of this decades long hate between Ives and Bickford. Likewise, I want to see these characters lives in the aftermath of the films events. I've never read the Donald Hamilton book that the film is based on, but I want to just to see if there is more to this story. This western breaks a lot of traditional clichés in Pecks character. He tries to avoid fighting and pulls off not looking cowardly, but trying to reason, to negotiate. Peck tries to bring peace, but still finds himself having to fight, albeit reluctantly. He doesn't need to prove anything to anyone but himself. We gradually see that he is a force for peace, with the strength to maintain that peace.

The film seems to spiral around all these characters, going around the edges and slowly finding the center of what everyone is about. They are epic characters, but their pettiness is made small with long distance camera shots that make them seem tiny and inconsequential. But the more the film starts to bring them into tighter focus, we see their faults. We see characters that seem weak who turn out to be the sources of true strength and character. Characters that seem like simple stooges...one dimensional tools of the two, more complex, warring old men. But as the film probes deeper, we see a reversal of all this. The seemingly complex patriarchs are simplistic symbols of hate, while the followers, like Heston...start to change and see the wrongness of their leader's actions. The characters could be considered symbols...they parallel the actions of nations in a way. I think this film has a wonderful message about character, force, peace and strength used both wisely and foolishly. Minor problems with the print aside...this is still a 5 star film from beginning to end.

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reviews: page 1, 2, 3, 4, 5, 6, 7, 8, 9, 10

William Wyler directed this epic Western, about the clash of East and West, intellect and action. Gregory Peck stars as a sea captain who moves way out West to marry Carroll Baker and become part of the ranch owned by her father (Charles Bickford). But he discovers that daddy's top hand (Charlton Heston) carries a torch for Baker and doesn't particularly like Peck stepping into his place. Peck also finds himself caught in the midst of a power struggle between Bickford and his surly neighbor, Burl Ives (and his reprehensibly bullying son, Chuck Connors). This long, sprawling tale works because its characters are played by movie stars who know how to command the big screen in a big story. --Marshall Fine

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