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Just perfect...

hyped garbage

it is finally so absorbing because it plays like a lyrical road odyssey that’s also a detective story.

All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

Director Stevens doesn't just show us Texas but puts us there, with his beautiful cinematography & detailed attention. The melodrama is strong, & the humor is great. Hudson is unsung as the hero at the center, but whenever Dean & Taylor are on screen it's like we're watching otherworldly beings of beauty & talent. Best of all, the Mexican / American relation stuff is shockingly timely; penetrating & difficult to ignore it's unintended connections to current world politics.

Well, after finally tackling this "epic" soap opera, is it truly deserving of all its hype? Beautiful Liz Taylor, handsome Rock Hudson, and strapping and intense and methodical Jim Dean, but overall the feeling is just mute, could not wait for the whole thing to just be over with. Compared to Gone with the Wind, it is such a snooze and no character here comes close to the audaciousness and spunk of Scarlett O'Hara or the beauty and goodness of Melanie Hamilton or the tower of strength that is Mammie. Rhett Butler would bitch-slap Rock Hudson's character silly if he had the chance.

I watched this movie, as it was the last movie of James Dean. The last movie before the unfortunate death (accident) of the fine artist. A fine actor who bagged two Oscar nominations after his demise. In this film, James's voice was dubbed by his friend in number of scenes after his death. The movie is huge in length spans three hours long and an era of over 30 years from the main character's (Jordon Benedict) love to Maryland farm's daughter, his rivalry with a cowboy on his return to Texas (homeland), story of his children and grandchildren. The movie convincingly covers two generation of Benedict's family.The direction is top class. First to direct a three-hour long movie is Herculean. The Oscar has recognized and awarded the director for this work. The guild and photo-play members also had their awards for the movie. The movie is adapted from a novel with the same name. The characterization were screen-played deeply with lot of ideas that makes the viewers remember the dirty-minds on racism in that period of time in Texas. For one instance, both the lead characters Rink and Bick are prejudiced against the Mexicans, but Rink is too poor at the start of the movie so he doesn't show it. Instead after becoming a businessman he displays in much cruel way. William C. Mellor's photography was exquisite in every way throughout the two generations in the story.In my opinion, Giant must be considered along with epics like Lawrence of Arabia, Gone with the wind, Benhur etc that made it to the top 250 in IMDb. There were few minor flaws that I could not fail to notice, which included Liz Taylor's acting that dragged the movie. She could've done way better to one of the characters in the movie that carried racial tolerance(Leslie). The next flaw is by the make-up department esp. when the characters got old they don't convince the audience. It could be true that the movie is too old to comment mistakes on makeovers, so am not treating it as one.My final verdict : If you're a fan of old movies that this is one to watch as it is pacey (not too slow). Children can view this as it is free from ratings.

By the time the vital theme of racial intolerance reaches its climax in this plodding melodrama, the audience has endured three hours of stilted dialogue and overblown acting. The film's most dynamic performers are either gone too soon (Mercedes McCambridge) or come too late (Dennis Hopper) to compensate for its morass of mediocrity (Hudson) or ineptitude (Dean). Elizabeth Taylor, enduring some of the worst ageing make-up ever seen in a seriously-intentioned Hollywood movie, somehow emerges with her dignity intact.It's difficult to make a picture convincing when its story has to traverse as many years as GIANT. SHOWBOAT, also from a Ferber novel, has the same problem. It does, however, have songs to save it. No such luck here. Attempts by composer Dimitri Tiomkin to give grandeur to what's on offer do the reverse: the harder he works, the worse it gets. This is particularly sad when considering William C. Mellor's outstanding photography - by far the greatest pleasure that GIANT has to offer.It doesn't give me any joy at all to write so disparagingly about a film which deals with such important issues as envy, greed, pride and intolerance. Director George Stevens was clearly a humane man who brought a great sensitivity to his work - his previous movie was, after all, the lean and unpretentiously powerful SHANE. Unfortunately, with GIANT, the intractability of his source material and the unevenness of his cast defeated his good intentions.