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Домой Статьи Назад в прошлое Американская мечта: 60 лет картине «Гигант»
В октябре исполняется 60 лет со дня выхода на экраны американской киноэпопеи «Гигант» режиссёра Джорджа Стивенса. Достойный повод вспомнить о фильме, признанном американским институтом киноискусства одним из величайших в истории.
Техасский фермер Джордан «Бик» Бенедикт (Рок Хадсон) отправляется в Мэриленд за призовым жеребцом. Там он встречает женщину своей мечты Лесли (Элизабет Тейлор) и женится на ней. Молодая пара возвращается на своё ранчо, где Лесли предстоит приспособиться к жизни в изменившихся условиях.
Американскую писательницу, автора любовных исторических романов, лауреата Пулитцеровской премии Эдну Фербер всегда интересовали неординарные женские характеры. В её книгах можно найти очень разные и в то же время родственные женские образы. Как правило, это самоотверженные и сильные женщины, способные и на безрассудные поступки, и на тяжёлый труд ради любви.
Одним из таких персонажей стала Лесли Линнтон Бенедикт в «Гиганте». В начале повествования красивая беззаботная девушка Лесли, выросшая в Мэриленде, влюбляется в состоятельного техасского скотопромышленника, владельца большого количества ферм Джордана Бенедикта.
В Техасе свободолюбивой и честной Лесли приходится привыкать к совсем иной жизни. Женщинам положено держаться в стороне от «мужских» разговоров о политике и изменениях в обществе. Поначалу Лесли с трудом воспринимает то, что белые техасцы держат мексиканцев (то есть коренных жителей здешних земель) за людей второго сорта. Также огромную боль причиняет Лесли поведение мужа, который признаёт – на первых порах – только свои желания и своё видение будущего. Со временем Лесли удаётся любовью и способностью к состраданию изменить взгляды консервативного Рика в лучшую сторону и подготовить свою семью к новой счастливой жизни.
В фильме роль Лесли досталась молодой Элизабет Тейлор. Тейлор, к тому времени прослывшая «интуитивной» актрисой, великолепно сыграла серьёзную драматическую роль матери большого семейства и преданной жены со своими взглядами на жизнь.
Не отставали от Тейлор и два её экранных партнёра, Рок Хадсон и Джеймс Дин. Хадсон замечательно передал властный патриархальный характер «Гиганта» Джордана, показав, что власть Бенедикта – власть духа коренного техасца, не сдавшего своих убеждений даже под напором нефтяных баронов.
Изначально основным кандидатом на роль Бика Бенедикта был Уильям Холден, но Джордж Стивенс предпочёл Холдену Хадсона. А Хадсон, в свою очередь, получил возможность выбора партнёрши на роль Лесли – Элизабет Тейлор или Грейс Келли. Хадсон выбрал Тейлор.
Но главным откровением фильма стала игра Джеймса Дина. Известно, что Дин мечтал поменять амплуа «смазливого бунтаря» и роль Джетта Ринка, неожиданно разбогатевшего работника семьи Бенедикт, воспринял как настоящий подарок судьбы. Поначалу Джетт Ринк предстаёт простым, немного наивным парнем, честно вкалывающим на ранчо семьи Бенедиктов.
Но его жизнь, размеренная и обыкновенная, становится почти невыносимой, когда на ранчо возвращается Джордан с молодой прекрасной женой Лесли. Безответная любовь к Лесли пробуждает в Джетте бунт и горечь от того, что Бику достались в жизни не только хорошее происхождение, образование и богатство, но и такая потрясающая девушка.
Но жизнь Джетта круто меняется, когда старшая сестра Джордана умирает и оставляет в наследство Ринку маленький клочок земли. Вскоре выясняется, что на земле Ринка есть нефть, и он становится богатейшим человеком в Техасе. Ключевая сцена фильма – когда Джетт, с ног до головы вымазанный в нефти, приезжает к Джордану похвастаться неожиданным богатством. В пылу ссоры Ринк признаётся Бенедикту в любви к его жене, и Бик в гневе выгоняет Джетта со своей земли. Отныне Джетт Ринк мечтает поквитаться с семьёй Бенедикт, которая не приняла его в свой круг.
Проходит 20 лет, и Джетт Ринк становится богатейшим человеком в Техасе. В его собственности больше земли, чем у любого техасского миллионера. Ринк собирается открыть в Техасе самый шикарный отель в Штатах и приглашает все богатые техасские семьи на грандиозный праздник. Настоящим украшением праздника становится дочь Бика и Лесли, красавица Лаз Бенедикт (Кэррол Бейкер). Ринк влюбляет в себя Лаз, напоминающую ему Лесли в молодости.
Но праздник омрачается пагубным пристрастием Ринка к выпивке. Сильно напившись и поругавшись с Джорданом, Ринк засыпает во время приветственной речи. В финале Джордан пророчески бросает Джетту: «Тебе конец!» В итоге Джетт понимает, что ни транспортные компании, ни магазины, ни дорогие отели, ни даже любовь Лаз не сумеют заполнить ту пустоту, которая поселилась в его сердце и душе.
Пресловутая «американская мечта» снова обернулась «трагедией»: казалось бы, обретя всё, человек не приобрёл ничего, что можно назвать счастьем. Позже тему «нефтяного безумия» и крушения надежд разовьёт Пол Томас Андерсон в эпической драме «Нефть» с Дэниелом Дэй-Льюисом в главной роли.
Ходили слухи, что у Джетта Ринка был реальный прототип – нефтяной магнат Гленн Герберт МакКарти (1907-1988), с которым Эдна Фербер познакомилась, когда тот проживал в Хьюстоне в отеле Shamrock (в фильме получивший название Emperador).
Для самого Джеймса Дина роль Джетта Ринка стала лебединой песней. «Гигант» стал последним фильмом в карьере актёра – за неё он получил вторую посмертную номинацию на премию «Оскар» в категории «Лучшая мужская роль».
На съёмках фильма Элизабет Тейлор и Джеймс Дин стали близкими друзьями. Тейлор вспоминала, что в Дине её привлекла противоречивая и израненная душа. Также известно, что Джеймс Дин и Рок Хадсон не ладили между собой, и Тейлор часто ловила себя на мысли, что пытается сгладить напряжённую ситуацию на съёмочной площадке.
Небольшие сложности во время съёмок не помешали «Гиганту» стать признанной классикой. В общей сложности «Гигант» получил 9 номинаций на премию «Оскар», победив только в одной. Заветную статуэтку получил Джордж Стивенс как «Лучший режиссёр».
«Гигант» – это великая киносага в лучших традициях классики Голливуда, разыгранная прекрасными актёрами в потрясающе живописных декорациях Техаса. Это история о выборе правильного пути и справедливости, о доброте и самопожертвовании, отказе от предрассудков и обретении подлинной свободы. И, конечно, о любви, способной преодолеть любые невзгоды.
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From Wikipedia, the free encyclopedia
For the Off-Broadway musical, see Giant (musical).
Theatrical release poster by Bill Gold
October 10, 1956 (New York City)
November 24, 1956 (United States)
Giant is a 1956 American epic Western drama film, directed by George Stevens from a screenplay adapted by Fred Guiol and Ivan Moffat from Edna Ferber's 1952 novel.[2]
Giant was the last of James Dean's three films as a leading actor, and earned him his second and last Academy Award nomination – he was killed in a car crash before the film was released. Nick Adams was called in to do some voice dubbing for Dean's role.[3]
In 2005, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".[4][5]
Wealthy Texas rancher Jordan "Bick" Benedict Jr. travels to Maryland on a horse-buying trip. He meets socialite Leslie Lynnton, who quickly ends a budding relationship with a British diplomat. After a whirlwind romance, Leslie and Bick marry and return to the Benedicts' Texas cattle ranch, Reata. Leslie has difficulty adjusting to her new life. Bick's older sister, Luz, runs the household and resents Leslie's intrusion. Leslie soon learns that she, like the other women, is expected to be subservient in the male-dominated Texas culture. Jett Rink, a ranch hand, becomes infatuated with Leslie. When Jett drives her around the county, Leslie observes the Mexican workers' terrible living conditions. She presses Bick to help improve their situation.
Luz is killed while riding Leslie's horse, War Winds, being bucked off after digging in her spurs as a hostile act towards Leslie. Luz leaves a small piece of Benedict land to Jett. Bick, who despises Jett, offers to buy the property at twice its value, but Jett refuses to sell and names his land, Little Reata.
Leslie and Bick have twins, Jordan III ("Jordy") and Judy and later have another daughter, Luz II. Bick continually favors his young son and pushes him into masculine pursuits, which the youngster resists. The marriage becomes strained, and Leslie takes the children to her parents for an extended visit. Bick goes to Maryland, and he and Leslie reconcile and return to Texas.
Jett continues working his land, eventually striking oil. Covered in crude, he drives to the Benedict house and proclaims he will be richer than them. Jett makes a pass at Leslie, leading to a brief fistfight with Bick before he drives off. Jett prospers over the years. He tries to persuade Bick to let him drill for oil on Reata. Bick, determined to preserve his family's cattle ranching legacy, refuses.
Years later, tensions arise regarding the now-grown Benedict children. Bick intends that Jordy will succeed him and run the ranch, but Jordy wants to become a doctor. Leslie plans for Judy to attend finishing school in Switzerland, but she wants to study animal husbandry at Texas Tech. Each sibling successfully convinces one parent to persuade the other to allow them to pursue their own goals.
At the family Christmas party, Bick wants Judy's new husband, Bob Dace, to work on the ranch after he returns from World War II. Dace declines, saying he and Judy want to build their own life. Jett persuades Bick to allow oil drilling on his land. Realizing that his children will not take over the ranch when he retires, Bick agrees. Once oil production starts on the ranch, the Benedicts grow wealthier and more powerful.
The Benedict–Rink rivalry reaches a head when the Benedicts discover that Luz II has been having a secret romantic relationship with the much older Jett. At his Austin hotel, Jett hosts a huge party in his own honor. The Benedicts are guests, but Jett will not allow staff to serve Jordy's Mexican wife, Juana. Enraged, Jordy starts and loses a fight with Jett, who then has Jordy thrown out. Bick challenges Jett, but seeing that the drunken Jett is in no state to defend himself, he and the other Benedicts leave. Jett staggers into the banquet hall and sits in the seat of honor. Luz II hears the slumped over Jett bemoaning his unrequited love for Leslie and leaves heartbroken; Jett topples over in a stupor and falls onto the floor.
Driving home the next day, the Benedicts stop at a diner. A sign at the counter states, "We reserve the right to refuse service to anyone," meaning ethnic minorities are unwelcome and generally reflects the mid-20th century bigotry and discrimination that was prevalent throughout the southern US. Sarge, the racist owner, insults Juana and her and Jordy's young son. When Sarge ejects a Mexican family from the diner, Bick says to leave them alone. Bick fights Sarge, who beats him and the tosses the sign onto Bick. Back at Reata, Bick laments failing to preserve the Benedict family legacy. Leslie replies that, after the diner fight, he was her hero for the first time. She considers their own family legacy a success. They look at their two grandchildren, one Caucasian and one Hispanic.
Elizabeth Taylor as Leslie Lynnton Benedict
Rock Hudson as Jordan "Bick" Benedict Jr.
James Dean as Jett Rink
Jane Withers as Vashti Hake Snythe, the Benedicts' neighbor
Robert Nichols as Mort "Pinky" Snythe, Vashti's husband
Chill Wills as Uncle Bawley, Bick's uncle
Mercedes McCambridge as Luz Benedict, Bick's sister
Carroll Baker as Luz Benedict II, Leslie and Bick's daughter
Dennis Hopper as Jordan "Jordy" Benedict III, Leslie and Bick's son
Fran Bennett as Judy Benedict, Leslie and Bick's daughter
Earl Holliman as Robert "Bob" Dace, Judy's husband
Elsa Cárdenas as Juana Villalobos Benedict, Jordan III's wife
Paul Fix as Dr. Horace Lynnton, Leslie's father
Judith Evelyn as Mrs. Nancy Lynnton, Leslie's mother
Carolyn Craig as Lacy Lynnton, Leslie's sister
Rod Taylor as Sir David Karfrey, Lacy's husband
Sal Mineo as Angel Obregón II
Charles Watts as Judge Oliver Whiteside
Maurice Jara as Dr. Guerra
Alexander Scourby as Old Polo
Mickey Simpson as Sarge, owner of Sarge's Diner
Noreen Nash as Lola Lane
Ray Whitley as Watts, Rink's manager
Ferber's character of Jordan Benedict II and her description of the Reata Ranch were based on Robert "Bob" J. Kleberg Jr. (1896–1974) and the King Ranch in Kingsville, Texas. Like the over half-million-acre Reata, King Ranch comprises 825,000 acres (3,340 km2; 1,289 sq mi) and includes portions of six Texas counties, including most of Kleberg County and much of Kenedy County, and was largely a livestock ranch before the discovery of oil. The fictional character Jett Rink was inspired partly by the extraordinary rags-to-riches life story of the wildcatter oil tycoon Glenn Herbert McCarthy (1907–1988). Author Edna Ferber met McCarthy when she was a guest at his Houston, Texas, Shamrock Hotel (known as the Shamrock Hilton after 1955), the fictional Emperador Hotel in both the book and the film.
The Australian actor Rod Taylor was cast in one of his early Hollywood roles after being seen in an episode of Studio 57, titled "The Black Sheep's Daughter".[6]
Stevens gave Hudson a choice between Elizabeth Taylor and Grace Kelly to play the leading lady Leslie. Hudson chose Taylor.[7]
After James Dean's death late in production, Nick Adams overdubbed some of Dean's lines, which were nearly inaudible, as Rink's voice.[8] George Stevens had a reputation as a meticulous film editor, and the film spent an entire year in the editing room.[9]
The film begins with Jordan "Bick" Benedict, played by Hudson, arriving at Ardmore, Maryland, to purchase a stallion from the Lynnton family. The first part of the picture was actually shot in Albemarle County, Virginia, and used the Keswick, Virginia, railroad station as the Ardmore railway depot.[10] Much of the subsequent film, depicting "Reata", the Benedict ranch, was shot in and around the town of Marfa, Texas, and the remote, dry plains found nearby, with interiors filmed at the Warner Bros. studios in Burbank, California.[11] The "Jett Rink Day" parade and airport festivities were filmed at the Burbank Airport.
During the restaurant fight scene at the film's end, the jukebox plays The Yellow Rose of Texas by Mitch Miller. This version of the song happened to be the #1 pop single on the Billboard Magazine Best Sellers chart at the time of James Dean's death.
The movie is an epic portrayal of a powerful Texas ranching family challenged by changing times and the coming of big oil.[12] A major subplot concerns the racism of many Anglo-European Americans in Texas during the mid twentieth century and the discriminatory social segregation enforced against Mexican Americans.[13] In the first third of the film, Bick and Luz treat the Mexicans who work on their ranch condescendingly, which upsets the more socially-conscious Leslie. Bick eventually comes to realize his moral shortcomings – in a climactic scene at a roadside diner he loses a fistfight to the racist owner, but earns Leslie's respect for defending the human rights of his brown-skinned daughter-in-law and grandson. Another subplot involves Leslie's own striving for women's equal rights as she defies the patriarchal social order, asserting herself and expressing her own opinions when the men talk. She protests being expected to suppress her beliefs in deference to Bick's; this conflict leads to their temporary separation.[14]
Giant is Edna Ferber's third novel dealing with racism; the first was Show Boat (1926), which was adapted into the legendary Broadway musical Show Boat (1927); her second was Cimarron (1929), which was adapted to film twice, in 1931 and 1960.[15][16] Ferber's Giant was a blockbuster, selling 52 million books by 1956.[17]
Giant premiered in New York City on October 10, 1956,[18] with the local DuMont station, WABD, televising the arrival of cast and crew, as well as other celebrities and studio chief Jack L. Warner[citation needed]. The picture was released to nationwide distribution on November 24, 1956.[18]
Capitol Records, which had issued some of Dimitri Tiomkin's music from the soundtrack (with the composer conducting the Warner Brothers studio orchestra) on an LP, later digitally remastered the tracks and issued them on CD, including two tracks conducted by Ray Heindorf. Both versions used a monaural blend of the multi-channel soundtrack recording.[citation needed]
The film was released on DVD on June 10, 2003.[19] The DVD includes more than three hours of documentaries.[19]
Giant won praise from both critics and the public, and according to the Texan author, Larry McMurtry, was especially popular with Texans, even though it was sharply critical of Texan society.[12] Bosley Crowther of the New York Times wrote that "George Stevens takes three hours and seventeen minutes to put his story across. That's a heap of time to go on about Texas, but Mr. Stevens has made a heap of film." He continued to write that "Giant, for all its complexity, is a strong contender for the year's top-film award."[20]
Variety claimed that Giant was "for the most part, an excellent film which registers strongly on all levels, whether it's in its breathtaking panoramic shots of the dusty Texas plains; the personal, dramatic impact of the story itself, or the resounding message it has to impart."[21]
In the 21st century, TV Guide gave the film four stars out of five, writing of James Dean's performance: "This was the last role in Dean's all-too-brief career – he was dead when the film was released – and his presence ran away with the film. He performs his role in the overwrought method manner of the era, and the rest of the cast seems to be split between awe of his talent and disgust over his indulgence."[22]
The film received a 93% approval rating on Rotten Tomatoes based on 45 reviews, with an average rating of 7.8/10.[23]
Less complimentary was director and critic Francois Truffaut, who in an early review called Giant a ”silly, solemn, sly, paternalistic, demagogic movie without any boldness, rich in all sorts of concessions, pettiness, and contemptible actions.”[1]
Giant was a huge box-office success. The film earned $35 million in ticket sales during its original studio release in 1956, a record for a Warner Brothers film until that time. This record was surpassed by the Warner film Superman in the late 1970s.[24]
The movie earned $12 million in rentals in the United States and Canada during its initial release.[25] It did not perform as well in other markets where it made around half as much,[26] but it was one of the biggest hits of the year in France, with admissions of 3,723,209.[27]
Online Film & Television Association
Giant (as part of "The James Dean Ultimate Collector's Collection")
Giant is considered to be the inspiration for the hit 1980s television drama Dallas. Both productions focus on the struggle between wealthy oilmen and cattlemen in Texas in the mid to late 20th century. In addition, both productions have an antagonist with the initials J.R.[29]
In 1978, Martin Scorsese wrote about the movie as a guilty pleasure:
I've seen this film over forty times. I don't like the obvious romanticism, and it's very studied, but there's more here than people have seen. It has to do with the depiction of a life style through the passage of so many years. You see people grow. I like James Dean; I like the use of music, even though Dimitri Tiomkin did it; I like Boris Leven's image
Rock Hudson - On "Elizabeth Taylor , James Dean & Giant" - 1982 - YouTube
Американская мечта: 60 лет картине «Гигант» | Lumiere. Журнал о кино
Giant (1956 film) - Wikipedia
Гигант (фильм) — Википедия
Giant 1956 with Elizabeth Taylor , Rock Hudson and James Dean
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Elizabeth Taylor Rock Hudson James Dean Movie
