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Giant
Part of the Special Series: SCHINKEN
Uncle Bawley: “Bick, you shoulda shot that fella a long time ago. Now he’s too rich to kill.”
George Stevens’ Giant unfolds as an American family epic that aims to be more than a mere chronicle of wealth and land acquisition. What begins as a private conflict expands over three decades into a panorama of social transformation: the oil boom, shifting class structures, racial tensions, and the slow, often painful modernization of the Texan Southwest. The film reads as a study of power and vulnerability, of how personal relationships intertwine with economic violence.
At its center stand Elizabeth Taylor, Rock Hudson, and an intense James Dean—three figures who embody different faces of the American longing. Landscapes, houses, and endless roads become characters in their own right, reflecting social status and inner change. The narrative’s breadth allows for intimate moments of tentative gestures and fragile conversations alongside grand tableaux of a society in transition. Progress brings prosperity, but it also leaves cracks in identity and community.