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(More customer reviews)What we have here is a blood feud over water rights between two ranching families headed by Major Henry Terrill (Charles Bickford) and Rufus Hannassey (Burl Ives), with school teacher Julie Maragon (Jean Simmons) caught in the middle. Directed by William Wyler with stunning cinematography by Franz Planer, we follow a narrative which involves the engagement of Easterner James McKay (Gregory Peck) to Terrill's beloved daughter Pat (Carroll Baker). Frankly, what he sees in her continues to elude my understanding. Some reviewers have dismissed this as a "B" movie but I do not. The quality of the acting (notably Ives's which earned him an Academy Award for best supporting actor) is outstanding. Although in what I guess could be considered a minor role as Steve Leech, Terrill's ramrod, Charlton Heston delivers a remarkably nuanced and controlled performance as does Chuck Connors as Buck Hannassey. This is much less a western than a study of two patriarchs (Terrill and Hannassey) who play a zero sum game to gain control of access to water on which they and their herds obviously depend. But there is something else at work in this great but (for whatever reasons) under appreciated film. Julie Maragon is quite willing to allow both patriarchs access to the water. That is not the core issue: rather, it is the conflict between the inflated egos of two proud and stubborn men who detest each other.
For me, one of the most memorable scenes occurs when, just before dawn, McKay and Leech finally have it out. It is an awkward but inevitable and immensely effective fist fight, with much of it filmed as if we were observing it at a distance. Of course, the fist fight achieves nothing other than demonstrating that McKay is more of a "man" than Leech once thought. Before they begin throwing punches, McKay insists that no one know about their fight. Leech totally misunderstands McKay's reasons. Another memorable sequence of events focuses on Terrill and Hannassey as they slowly and carefully work their way through a canyon to their final confrontation. To repeat, theirs is a zero sum game except that neither wins. In these and other scenes, Planer's cinematography and Jerome Moross' music score blend effectively with the cast's superb performances under Wyler's direction.
Why has The Big Country been under appreciated, if not totally ignored among western films? I have no idea. I really don't.
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