Introduction
1956’s Giant is both an epic Western and an American classic. It traces the lives of Jordan and Leslie Benedict from their courtship to when their children are grown, and moving into independent lives of their own. At the same time, the film also expands to address the changing state of Texas itself, and how the traditions of cattle ranching gave way to an oil boom. This in turn relates to the new breed of Texan, represented by Jett Rink, who exists as a threat to Benedict and his values. Just as importantly, however, the film has a powerful undercurrent; the Mexican population of Texas, usually marginalized and occupying servant and laborer roles, is presented in a different light, and largely because Leslie Benedict is unwilling to accept the longstanding bias of the landscape. Finally, and as his son marries a Mexican woman, even Jordan fights to defend Mexican honor. Giant deals with a number of important realities, from economics to rivalry within a family, but it may be argued that the film’s greatest strength is in its support of Texan Mexicans as deserving respect.
Summary
From the movie’s beginning, the relationship between Jordan and Leslie is central to all that occurs. Importantly, when he first meets her and is immediately taken with her, he sets aside what is clearly her strong sense of independent thinking; the impression is that he thinks he can “tame” her. They marry and he brings her to the family estate of Reata, long a prosperous cattle ranch. Conflict arises, however, between Luz, Jordan’s sister, and Leslie. Basically, Luz sees Leslie as an outsider who will never fit in, as she resents Leslie’s role as threatening her control of Reata. Complicating matters is Jett Rink, a worker on the ranch who both desires Leslie and discovers oil on his own small patch of land. Jett becomes rich and powerful, the Benedicts eventually allow oil drilling on their land and become wealthier, but tension remains strong as it is learned that Jett and and the Benedict daughter Luz are romantically involved. Jett falls into alcoholism and degradation, and there is an actual fight between him and Jordan, with Jordan finally declaring that Jett is “finished.” The conclusion centers on a diner fight between the owner, a racist, and Jordan, because the owner refuses to serve Benedict son Jordy’s Mexican wife, Juana. Jordan loses the fight, but he also inspires renewed admiration in Leslie, who now sees him as her hero because he tried to defend Juana’s honor.
As noted, a powerful element of Giant lies in how Leslie, the newcomer to Texas and its culture, reacts to how the Mexican population is treated. She is deeply disturbed by the conditions in which they live, and she defies Jordan and the customs of the land by insisting that this treatment is completely wrong. Her attitude is reinforced as she cares for a sick and poor Mexican child. The entire film, in fact, presents the Mexicans as oppressed, yet consistently decent and good. This in itself may be seen as a kind of racism because they are idealized as a people. At the same time, however, Jordy’s marriage with Juana strongly creates a sense of a shared humanity so long denied by Texans, as, again, even Jordan is moved to understand this.
Conclusion
On one level, Giant is an epic melodrama, as the lives and conflicts within the Benedict family are revealed. On another, however, the movie offers several important realities. It provides a sense of how cattle-raising Texans resisted oil production, but eventually accepted this as a reality going to greater power and wealth. Then, the movie is in a sense groundbreaking for the 1950s, in that it deals with the racism oppressing Mexicans and supports how the population deserved humane treatment. In the final analysis, Giant addresses a number of important realities, from economics to family conflicts, but it may still be said that the film’s greatest strength lies in its support of Texan Mexicans as deserving respect.
