故事发生在阳光普照的得克萨斯州,比克(洛克·哈德森 Rock Hudson 饰)是成长和生活在那里的一名牧场主人,德州和煦的阳光将他的性格也照耀得温厚而老实。东部来的漂亮女人莱斯利(伊丽莎白·泰勒 Elizabeth Taylor 饰)吸引了比克的目光,常年生活在西部的他从未见过像她一样的女人,很快,两人就坠入了情网之中,并且最终携手步入了婚姻的殿堂,就这样,莱斯利成为了农场的女主人。 杰特(詹姆斯·迪恩 James Dean 饰)是在比克农场里打工的长工,一次偶然的机会里,他获得了一块可以自行开垦的荒地。哪知道杰特走了大运,在这块地的地底下竟然埋藏着价值连城的石油,杰特一夜暴富。
热播电视剧最新电影沉默的人1973天使行动3:魔女末日芒咕的动物城骄阳似我FPS花书生热爱史光速侠电光火石玻璃面具鉴爱男女第一季独奏伊基塔:蝎子之路晚安布鲁克林-死亡音频的故事咒怨2拜托了!老爸鬼影喧嚣第一季待到山花烂漫时沉睡的美人黄桷树下的孩子们夏天的故事犯罪心理第九季颤密乡村爱情2美国众神第一季十三号星期五8痴男怨女2004马大帅III如果你只是把本片当做詹姆斯·迪恩的最后一部影片来缅怀英年早逝的青年偶像,那就太浪费这部西部史诗了:十项奥斯卡提名展现了其全面(当年提名最多的影片。但那一年好片太多,奖项太分散,所以本片最后只获得一项——乔治·史蒂文斯的第二个最佳导演奖),4千万票房凸显了其人气(保持华纳兄弟的票房纪录直到20年后的《超人》),烂番茄95%印证了其口碑,收录在国家影片登记表肯定了其历史地位……不过我在这里更想为原著点赞。这是女作家Edna Ferber的又一部畅销小说,讲述上世纪上半页德州农场主的发家奋斗史,特别是新晋的石油大亨和传统的畜牧产业之间的对立。不过从今天的视角来看,这更像是来自蓝州的民主党老婆(泰勒)在几十年时间里逐渐感化来自红州的共和党老公(哈德森)的价值观宣传片。家族荣耀、勤劳本分、虔诚传统、各(等)司(级)其(分)职(明),这些美国保守主义珍视恪守的信条,在男女平等、种族平权、开放包容、尊重个体的自由主义面前只得让位。
“a significant American tome that takes us through an elemental learning-curve of open-mindness
George Steven’s epic western GIANT, based on Edna Ferber’s roman-fleuveabout a wealthy Texas rancherhousehold that spans over decades, rightfully won him a second Oscar for BEST DIRECTOR, but this is the sole trophy out of the picture’s 10 nominations (although Mercedes McCambridge’s coattail nomination is a fluke in hindsight, she has nothing to wield but a frosty front), mostly lost out to Michael Anderson’s less time-honored AROUND THE WORLD IN 80 DAYS (1956), another taint forever besmirches the Academy’s credibility.
The couple under the limelight is Jordan “Bick” Benedict Jr. (Hudson), the said rancher and his wife Leslie Lynnton (Taylor), a socialite from Maryland, who must adapt herself to the a completely different lifestyle but never flinches from her modern view of treating their Mexican employees (yes, they are referred as wetbacks) with equal respect, which collides with Bick’s more entrenched racist frame of mind, and this “progressive East Coast vs. traditional Western Inland" leitmotif maintains as the pillar of the film and later evolves into Bick’s epic defeat of his paternalistic arrangement in relation to their three children. Throughout, it is Bick’s glacial change of his old-world attitude that flourishes during all the long years, Rock Hudson gives an endearingly no-nonsense impersonation that not unlike his first name, becomes a bedrock of the film, a pretense-free Texan learns to brave a new world that beyond his widest imagination and eventually transmutes into a better person, a titular “giant” in the end, even he is beaten up for standing up for the right cause, why it is so inspiring because it is a personal victory, and means the world to them, good deeds must be carried out no matter how formidable adversity looks, who can refute that?
Taylor, on the other hand, dazzles in Leslie’s bluff honesty and impeccable integrity that makes us root for her right out of box, Leslie’s life orbit is less tectonic, but incredibly, both she and Hudson acquit themselves convincingly under their senior makeup, to parent fresh-faces like Dennis Hopper and Carrol Baker,and a strong sense of affinity between the two never get attenuated, not even during their not-so-infrequent spats.
Of course, the biggest selling point is James Dean in his final picture, although for sentimental reasons, he received his second posthumous Oscar nomination in the leading actor category, but his indecipherable upstart Jett Rink is a substantial supporting character in the whole picture, and he would be a shoo-in to win if he could have competed in the category where his character truly belongs, however, his name had already become too big a legend to be relegated at that point. His portrayal of Jett, emphatically registers a false layer of insouciance that defies operatics, vaguelymasks his touching vulnerability and troubling uneasiness towards the unattainable object of his desire, Leslie, whose footprint inadvertently strikes gold for him, but whose heart he can never conquer.
Thus, it is the black gold that sounds the death knell of the Western genre as we know it, Stevens and DP.William C. Melloremploy stunning imagery to exhibit the burgeoning modernization that invades the vastness where materialistic gain lies beneath and beckons, as an answer to the prior un-warped long shots which retain the Old West in its most august splendor, the cattle herd sequences, or the majestic take on Benedicts’ singular mansion for instance, but at the end of the day, it is the story’s sagacious message that transcends its racist, patriarchy milieu, and makes GIANT a culturally, historically and aesthetically significant American tome that takes us through an elemental learning-curve of open-mindness and righteousness that flouts the specious “winner takes it all” precept,without forging its tangy nostalgia for a bygone era.
referential entry: Stevens’ A PLACE IN THE SUN (1951, 8.1/10).
肤浅的我觉得。。这奏是流水账。。木有激烈矛盾。。
可能是George Stevens最好的作品。James Dean去世前拍的最后一部电影。富于张力的剧情描述了跨越几十年的爱恨情仇。当年获奥斯卡十一项提名,但最终仅获得最佳导演奖。三位主演皆有上佳表现。个人认为是一部容易被忽视的杰作。
像看一部长篇小说,快啃不下去的时候又出现有趣的段落把你拉回来。三代人小家庭大时代都浓缩在日常里。喜欢结尾的对话:——你终于成了我的英雄。——我觉得我一辈子都猜不透你。其实格局也没多大,不如说是一对夫妻磕碰相伴半生的故事。詹姆斯-迪恩打了个浓墨重彩的酱油。
巨人!!在我心里,你们俩都是。当年没有看,大概是它不属于西部开拓史的一部分。原来发展西部,消除对湿背人(对潜入美国的墨西哥印第安人的蔑称)的歧视,财富的建立与偏见的消除,是讲述宏大题材更好框架和背景。
看到Dean对着几百张空的桌子演讲,我想到一段话“现在早出晚归,是为了以后可以醉生梦死。不问世事,不关心物价政局民间疾苦。广结友人,只用来聊天逛街相约吃饭。想活在那种没羞没臊没计划的堕落里,挥霍时间、健康、感情和一切。然后在某个大醉的夜晚,怀念当初有条不紊的奋斗青春。”
第29届奥斯卡金像奖最佳影片提名
最後的晚餐,占士甸一人在超長桌正中,獨角戲,導演太喜歡他,僅此一段足夠在影壇不朽,僅此即證明永恒反叛不墜美名...但令我落淚卻是下葬好友那場,人家拍主旋律那真叫勁,差太遠(跟?),大銀幕只留下星條旗下的棺材,反戰愛國兩不誤,巨人指的并非個人,是這種群體,最終成就的則是一個巨人......................
爱上一匹野马,可我家里没有草原---年轻时的玉婆美艳不可方物,忽觉得人家结了八次婚也是很正常的好嘛!Dean饰演寂寥的石油大亨,最后的独角戏令人动容。跨度几十年新旧时代夹缝中的家族史诗,节奏把握并不好,原作小说或值得一看。问谁是巨人?是那些"战胜了自身的偏见与控制欲的人"
这么冗长 而且给dean的镜头这么少直降到三星。简直可以拿去拍电视剧了 怎么得了这么多奥斯卡题名
中后段一大堆事情发生,有点……凑,但结尾扳回得好。泰勒和罗克戏里戏外的感情,看哭了。迪恩对着黑暗的宴会厅发表屌丝独白然后栽下去也看哭了(非粉)。这部西部片在当时作为女权和种族平权运动的一部分,很了不起。开始象征财富和权力的大房子,最后成了孤独的坚守。美术,调度,都非常棒。
这应该是伊丽莎白泰勒演的最好的一部影片,在别的电影里她不过是一花瓶。
片子本身更像一个关于变化的故事,性别、种族、新旧等等的认知变化。詹姆斯·迪恩实在太突出,包括他的表演也与其他演员,比如与男主的对比,明显是两种形式。
横跨25年的恩怨情仇,微缩的西部近代史,时代变迁,传统消逝,满是冲突;财富,种族,性别,无一不有所染指,于是问题来了:野心太大,繁复不均,篇幅过长,每一个所要表达主题都显得独立而缺乏联系,差一点就成了流水账。不过片外有个小花絮:霍珀说他拍这片的时候天天观察迪恩的表演,受益终生。
玉婆因为这部片找了两个好闺密。
严重好于预期。泰勒与迪恩都有上佳的表现。故事尤其好,一气呵成。"you can just raise them. You can't live their lives for them."
地缘、种族、贫富、时代、代际,五组矛盾写尽绘绝,是谓佳作。大银幕观赏,震撼不已。乔治·史蒂文斯绝不是机巧之人,但本片的伟大,也恰恰归功于他的本分。西部哪,逐渐隔绝了狂风黄沙。英雄能征服奔牛烈马,却折在家长里短。神话差点变笑话,但依旧是神话,只不过多了些许况味豁达。
【资料馆展映4K修复版】长达三个半小时的传记片。前一小时看得差点睡着,随后才渐入佳境。算是中规中矩的流水帐。而且时间跨度太大,转折生硬缺乏过渡,经常突兀地就跨越了数年甚至十余年。矛盾冲突和精彩的高潮段落几乎全集中在后半部片子里,结构太偏。一米九的帅气阳刚男主演居然是同性恋。三星半
用现在的眼光看有些太苛刻了,但我不是很能接受一部史诗片最后“矮化”成知更鸟。It's Texas in 1950s. They serve all kinds of racism.
一部史诗,一种情怀,一世人生,更像情节剧而非西部片
If a film wants to be dramatic, do it the Giant's way. It's both an honor and an irony that Rock Hudson brought flesh and blood to this unforgettable role of a white macho ranch husband/father. He's the beacon light for all of us. Top 100