Rating: 
Summary: "You take a helluva long time to say goodbye."
Review: 4.5 stars. This is another epic undertaking from legendary director William Wyler. Some of the classic films on his resume have been showered with awards. Films like "The Best Years of Our Lives," "Mrs. Miniver," "Roman Holiday," and my personal favorite from his extensive catalog, the 1959 version of "Ben-Hur." Those four films alone collected nearly 30 Oscars between them! His work is very impressive, and this film has all the ambition one could possibly hope for from such a celebrated director. The scope of the picture is immense, with panoramic vistas beautifully photographed, great costume design and set decorations, and a large cast of legendary actors. All the acting is first-rate, the supporting cast equaling even the greatest performances here. Charlton Heston, Gregory Peck, and Jean Simmons all do splendid star turns, while Burl Ives gives his all in his Oscar-winning performance. But this is William Wyler's film, and his outstanding work here is what makes this so enjoyable. The variety of camera angles he uses keeps everything fresh and lively, changing persepctives from mountain tops to showing part of a scene from what it would look like if the audience was watching from under a bed. This is a classic style Western, the kind they just don't make anymore. It has a huge cast, magnificent locales, professional direction and high production values. The only complaint I have it that it is slightly dated, but by the end of the movie I really didn't mind all that much, the acting is so good and the production is so grand in scale. There is one flaw in the story. Just one glaring flaw. When a large group of men ride into a canyon and a large barricade falls, blocking their way, they retreat back the way they came only to be boxed in when another, similarly large barricade falls, blocking their retreat. They couldn't see the first barricade on their way in? It was huge, and not camoflauged in any way. That is the only reason I can't give this otherwise entertaining film 5 stars. However, this is a fun film. A quintessential Western epic with superb direction from William Wyler and excellent acting from the entire cast. My favorite scene is a long fight between Charlton Heston and Gregory Peck at night on the prairie, with only the cows watching them exhaust themselves. Now that's entertainment!
Rating:
Summary: Good performances in a beautiful Hollywood Western
Review: THE BIG COUNTRY is a very good Hollywood Western, with all the strengths and weaknesses that implies: a first-rate cast and fine production values, but a less-than-imaginative script written by a studio committee. The story is a variation on the tried-and-true "Eastern Dude Tames Wild West" theme. Co-produced by director William Wyler and star Gregory Peck, it strives a bit self-consciously for epic grandeur, and lacks the comparatively gritty realism of John Ford's thematically related THE MAN WHO SHOT LIBERTY VALANCE.As the transplanted Easterner, Peck's understated performance is a pleasure to watch. Jean Simmons is fine as the schoolmarm, and the two Chucks (Conners and Heston) are equally good in their roles. A supporting actor Oscar went to Burl Ives, but the standout performance belongs to Carroll Baker as Peck's spoiled fiance. Franz Planer's cinematography is quite good, too, but like the script, performances, and pacing, it's just a little bit too self-conscious. The picture feels more like OKLAHOMA! than like THE SEARCHERS--altogether too theatrical to sustain the suspension of disbelief. Yet this is a very entertaining movie--at least for those who value character, conflict, and beautiful imagery over car chases, explosions, and other special effects. And fans of Westerns in particular should appreciate the many virtues of this near-Classic. Four solid stars.
Rating: 
Summary: A fine Western that gets better with repeat viewings.
Review: "The Big Country," William Wyler's attempt at a Western super-masterpiece, doesn't quite achieve everything Wyler set out to do--there are a few too many panoramic scenes of the Great Plains, for example, in which nothing else is happening. The best parts of this movie, however, are so good that it easily deserves to be ranked as one of Hollywood's classic Westerns. It's interesting to contrast "The Big Country" with its contemporary, "The Searchers," which was denigrated as a mere programmer when first released but now is hailed as perhaps the definitive Western. It's true that John Ford's view of Western society is more mordant and finely shaded than Wyler's. Also, John Wayne's performance in "The Searchers" blows away both Gregory Peck's and Charlton Heston's in "The Big Country;" and although both Franz Planer's photography in "Big Country" and Winton C. Hoch's in "Searchers" are astonishingly beautiful, Monument Valley is simply more interesting to look at than the empty plains. But for all that, I still prefer "The Big Country," for any number of reasons. Its supporting cast is better than that in "The Searchers," and has juicier roles to play; Vera Miles in "Searchers" simply can't compare with either Jean Simmons or Carroll Baker in "Big Country," and Burl Ives' performance as Rufus Hanassey is one of the all-time classic character performances. Jerome Moross' score for "Big Country" is THE classic Western score of all time; the opening credits of "Big Country," showing the stagecoach galloping across the plains to Moross' energizing, haunting main theme, is one of the most stirring images in all cinema. (Compare this with the syrupy folksiness of the Sons of the Pioneers, in my opinion a major irritant in all of Ford's Westerns.) But above all, the big difference between "The Big Country" and "The Searchers" is faith, hope and charity. "The Big Country" insists that reasonable men of good will can make a difference in their society; "The Searchers" sneers at such optimism, insisting that society and community are Band-Aids on the raging cancer of the world as it is. Somewhere between the two viewpoints lies reality, but I know which viewpoint I prefer. (If you want to see a really great John Ford Western, I recommend "Stagecoach" or "The Man Who Shot Liberty Valance.") Big in every way, with a panoramic sweep and vigor that improve with each successive viewing. "The Big Country" is a solid four-and-half stars, and I'm happy to throw in the extra half-star.
Rating:
Summary: An exquisite and underrated film
Review: The Big Country has so many fabulous elements to it that it's hard to know where to begin. The acting is universally superb and every actor is cast to perfection in their individual roles. Gregory Peck has rarely been as understated, subtle and magnificent as he is in the title character of the handsome, secure Jim McKay. He is the quintessential American character and only Peck, Jimmy Stewart, or Henry Fonda could lay claim to that mantle. Carroll Baker plays his shrewish, manipulative and petulant girlfriend to a "T." Charlton Heston is excellent in a supporting role, as are Charles Bickford and Chuck Connors, who is surprisingly effective as the drunken roustabout Buck. Jean Simmons loses her British accent and delivers a memorable, strong performance as well. Ultimately, the best performance is delivered by Burl Ives, who won a much-deserved Academy Award in his role as the patriarch of the Hannessey clan. Watch particularly for the scene where he disrupts the Major's party and delivers a searing soliloquy on the selfishness and tyrannical tendencies of the Terrell family. This is an acting tour de force from Ives, who is every bit as powerful here as he was playing Big Daddy in "Cat on a Hot Tin Roof." Another great scene is when Chuck Connors walks into the house and says, "Pa, did you want me?" Ives sneers, "I did before you was born!" The score is incomparable, the mesmerizing string section will have you humming for days. The cinematography is eerily derivative of John Ford and the sweeping vistas makes you want to be there, in every frame. There are some clichés, notably the fight scene between Peck and Heston, which goes on too long and is a little contrived. The ending is also melodramatic and improbable, yet somehow a fitting climax to this wonderful movie. Rarely has an ensemble cast been so universally excellent, the acting alone makes this a truly outstanding film. I rooted for the Hannessey's throughout the film, others may opt for the Terrell's, but it doesn't really matter in the end. My highest recommendation.
Rating:
Summary: FORGOTTEN EPIC WESTERN
Review: this is an often disregarded epic western, however it is truly one of the "greats". this film boasts many great aspects, including an engrossing epic tale with inherent plot elements and suggestive insinuations, an extremely talented ensemble of actors providing great characterizations with their performances, and a great comprehensive moral message. these all combine to produce a great cinematic experience. an imperative addition to any great western fan's library. as for the DVD, it's a good transfer which allows the viewer to appreciate the beautiful on-location scenery and vibrantly enhanced colors. the audio is good also.
Rating:
Summary: All the elements are right
Review: Arguably, the greatest western score, a wonderful cast, a unique interpretation of a story that is always good: the tale of a moral man challenged, misunderstood, and outnumbered. I believe this is hollywood at one of it's most mature and artistic moments. The Heston and Connors characters are multi-dimensional. Heston as foreman Steve Leech has known and lived by a rough western code of honor. Though it is clear that he inspires loyalty among men, he has given his own loyalty to an unscrupulous man. Of course Leech is jeolous of Jim McKay and resents being replaced by him in the Terrell houshold (the Terrell meanness has its effect on him as does the Hannassey meanness on Buck). Leech's showdown with Mckay, who might be considered to be almost Christ-like, is a crossroad for him. Buck's showdown with McKay is a crisis of a different type. Buck Hannassey, who the story places on a level with Steve Leech is really different. Buck is hopeless, beyond repair or salvation. I felt for him. Though he can be charming and immature, he can also be menacing and cowardly. In Rufus's exchanges with him, it was clear he has had no small part in shaping his son. I felt empathy for everyone in this movie. The story leaves much unsaid. How did things get to this point? What happens next for Steve and Pat? Does Steve become the new owner of the Big Muddy's foreman?
Rating:
Summary: Classic
Review: Is it just me, or does anyone else come to realize how tragic the character Burl Ives plays becomes. I actually feel for him. I think before one watches this movie, you have to develop an empathy for the time and lives these people led BEFORE this moment in their lives. I views the movie again with my wife (Her first viewing) and realized that if this had been me, I would felt more of a liking for Hannasey than the Major. He was a least a man of rough honor. I think most are missing this in their reviews. Ives character had a more character than all but McKay, and in a way they were more alike than one would suspect. The scene when he is preparing the dueling pistols is very poignant, where he gruffly dismisses McKays advice on how to prep the dueling pistols, that he had handled "flintlock and cap and ball" before McKay was even born, and chastises his son because he had never faced danger with "only one shot" between him and death, instead of a "fast draw" and and six shooter. Think about this when viewing, and also when he crashes the engagement party. This man had cajones! I have known few men in life with this type of character, and I feel bad for people who never have been blessed by this type of association. What a tribute to the American personality!
Rating:
Summary: A few comments
Review: As others have written very complete reviews, I just had a few miscellaneous comments I hadn't seen elsewhere. It's interesting to contrast the quiet and unassuming confidence Peck projects in his character with the characters of the westerners, who assume Peck's low-key personality means he's a coward, or at least unwilling to defend himself, despite the fact that he's a former sea captain and has probably seen more danger on the high seas in a few years of sailing than most of the ranchers have seen in their entire lives. His manhood is constantly being questioned by the cowboy types, who don't understand Peck's more restrained nature nor his background. For example, in one scene he rides off into the desert overnight to visit a neighbor and doesn't come back the next day. They mount a search party, thinking he's lost, but he's not. He has a map and a compass, and he knows how to use them. Eventually he rides into the camp of the searchers, who haven't been able to find him yet, apparently none the worse for wear, but the ranch foreman accuses him of lying when Peck says he wasn't lost. The ignorant cowboys have no idea that a former sea captain like Peck, who could navigate a ship over thousands of miles of open sea with no landmarks with a sextent and a chronograph, would find it easy to navigate on land with a map and a compass. But the ranchers remain unconvinced. There are several other incidents like this, and even his new wife doubts him. In the end, however, Peck shows himself to be twice the man of any of the other brash and blustery cowboy types who have doubted him all along when he single-handedly confronts Burl Ives and his gang alone at the end of the movie. He also realizes that his wife, who also doubted him, isn't worth the trouble and isn't the girl for him. Instead, he ends up with the Jean Simmons, who understood him better all along (and who tried to talk sense into his wife, unsuccessfully), and who is a much classier lady, anyway. I have to agree with the other reviewers and say that Burl Ives is the real standout and surprise here, turning in a great performance as the crusty, scheming old patriarch of a disreputable family of ne'er-do-wells and ruffians who feels he deserves better, including his errant son, played by Chuck Connors, who also turns in a fine performance. It's too bad Connors didn't get that many other good roles like this, as he shows he's a much more capable actor than he's normally given credit for. The entire cast does a great job, actually, and Charlton Heston is also good in his role as Peck's nemesis, playing something of a bad guy with regard to Peck, but who eventually comes to appreciate Peck isn't the man he thought he was when he and Peck get into a fist fight. Both men end up taking and dishing out a lot of punishment during the course of the long fight, so there isn't exactly a clear winner, but Peck shows he can certainly take care of himself and isn't the pushover Heston had thought. The movie also has a great score that really adds to the ambience and drama, which helps, since the movie is over 2 hours and 40 minutes long. Overall, it's a fine movie and a great western that isn't as well known as it should be. Big Steve says go rent it and don't Bogart the popcorn.
Rating:
Summary: Location, Location, Location
Review: A teriffic movie and it's gotten plenty of kudos in other reviews. It looks like the producers of the DVD could improve things a bit--behind the scenes, book adaptation, stars, locations, etc. No one mentions the beautiful shooting location. Where is Blanco Canyon?
Rating:
Summary: ONE OF GREGORY PECKs MOST NOBLE PERFORMANCES
Review: I think Peck's best performance was in 1958s THE BIG COUNTRY. THE BIG COUNTRY is based on Donald Hamilton's novel of the same name. Gregory Peck plays the central character named James McKay. McKay was a sea captain who looked and acted like something of a dandy as he relocated out west from back east to marry his fiancée. McKay was a man who had nothing to prove to anyone but himself. I read the novel. Gregory Peck is James McKay. Peck chose this project and co-produced it because I think he recognized that particular character in the novel that mirrored his approach to many of the roles he chose. There are wooden people in everyday life. What is behind the wooden veneer? I think that a good actor takes the roles that work best for them. Look at Peck's performance as Lewt in DUEL IN THE SUN. That is not one of Peck's typical performances. I wonder after all these years what Peck's critique would be to his performance in that film. If you do watch THE BIG COUNTRY I think that Peck actually makes very subtle references to his performance in DUEL IN THE SUN with his awkward attempt at humor, which is consistent with the character of James McKay. THE BIG COUNTRY is one of America's greatest films. It is blessed with one of the finest scores ever written for an American film. What composer Jerome Moross gave us was true Americana as well as music in the Western genre. This score captures the spirit of what made America great. America is made up of different people and different ideals. Charlton Heston as Steve Leech, in what I think was also his best role and performance, showed us an overly assertive male quality. When he finally confronts McKay he comes away with a self-realization about his own motivations and what being a man really means. Later when put to the test he is truly torn for the first time between good sense and loyalty to the selfish and tyrannical Maj. Henry Terrill (Charles Bickford). Only the viewer can draw a conclusion on his actions. The pivotal music by Jerome Moross in this scene will tear your emotions apart. Burl Ives as Rufus Hannassey won an Academy Award for his role. For me he was the most enigmatic character in this film. Is he as tyrannical as his nemesis Henry Terrill is or not? I am still perplexed. Another good performance in this film was by Chuck Connors as the tragic Buck Hannassey. Chuck Connors as an actor deserved infinitely more recognition than he ever got and this film proves it. This was not a film of black and white characterizations. There was a lot of gray. I saw this film in the theatre when I was a little kid when it first got released. It is very strong on imagery. My heart went out to Chuck Connors as Buck Hannassey in the finale and it still does when I watch it today. This is one of my ten or so favorite films. It is slow and deliberate. It is not flashy. The critics at the time were very wrong. It is a long movie yet there is not a wasted shot in it. It packs a greater emotional punch every time I watch it. The older you get, the more you can identify with it. I was lucky enough to see it the first time when I was very young. This is one of those rare films that offers something knew each time you watch it.
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