As Leslie Lynnton, the independent-minded, sharp-tongued daughter of a “horse country” family in the East, Taylor unexpectedly marries Jordan “Bick” Benedict Jr. (Rock Hudson), who has come to Maryland to buy a stallion in the green, rolling hills of Maryland. He returns to the dead-flat, windswept browns of his West Texas ranch with a wife he loves but doesn’t understand.
In Texas, Leslie is a feminist sharply critical of male hierarchies and sarcastically dismissive of misogynist condescension. She’s also a social reformer intent on securing equal treatment for Mexican-Americans—who are viewed with disdain as “wetbacks” and treated with discrimination by the ranchers, oil men, and pols who dominate the state. After being rebuffed in her attempts to get doctors for the poor Hispanic families and to join in all-male conversations about Texas business and politics, she tells Bick that she has had enough, and she won’t put up with his insensitivity any longer. She leaves him to go home, until he comes back to Maryland, Stetson in hand, to ask her to give him another chance. The climax of the film is Bick’s losing fight with a Texas café owner who won’t serve his Hispanic daughter-in-law (many years have passed), which is viewed as a heroic transformation by Leslie.
Today, these are, of course, very powerful but very widespread artistic and political subjects. But what is remarkable is that Giant’s sharp take on misogyny and discrimination is more than half a century old. What are also remarkable are the performances of Taylor and Hudson. The story is, of course, about Texas—the film gets its “epic” character from the vast vistas, sweeping shots of Bick’s huge Reata Ranch and the rancher-oil men conflict created under George Stevens, Sr. who won the Academy Award for Best Director. But most of the story and themes are told through the 25-year marriage of Leslie and Bick that frames the movie. Taylor is loving but also tough-minded and sharp-witted; Hudson’s humanity struggles to emerge from his tough rancher personality. Despite some clunky lines, both performances are authentic and affecting.
Some critics see this as James Dean’s movie (he died at age 24 in a car crash before it opened). As surly ranch-hand Jett Rink, he hates Bick, loves Leslie, and then strikes oil on his small patch of land. Dean gives us a big dose of the “method” acting of the time: mumbles, heavy-lidded eyes, unexpected grins, suppressed feelings that can explode. But his performance plays off Hudson and Taylor—especially Taylor, who treats his barely hidden passion for her with seductive but mocking lightness.
In Giant, Taylor benefited from Edna Ferber’s preference for strong women protagonists, including her novels Showboat (1926), which became one of America’s great musicals, and Cimarron (1929), which, in its film version, won Best Picture in 1931. After Giant, Taylor went on a remarkable run, being nominated as best actress four years in a row: Raintree County (1957), Cat on a Hot Tin Roof (1958), Suddenly Last Summer (1959), and Butterfield 8 (1960), for which she won the first of her two Oscars (the second in 1966 for Who’s Afraid of Virginia Woolf).
