"THE BLUE AND THE GRAY" (1982) Review

"THE BLUE AND THE GRAY" (1982) Review

In 1982, CBS television aired a three-part miniseries about the experiences of two families during the Civil War. Sounds familiar? It should, for John Jakes had wrote something similar in three novels between 1982 and 1987 – namely the"NORTH AND SOUTH" Trilogy. Jakes’ novels were adapted for television in 1985, 1986 and 1994. However this miniseries was produced by Larry White and Lou Reda. And despite the mildly similar theme to the "NORTH AND SOUTH" saga, there are some vast differences. 

"THE BLUE AND THE GRAY" had not been based upon any particular novel or series of novels. Instead, it was based upon a story concept by Bruce Catton, a famous historian who had written a book on the Civil War with the same title. As I had stated before, the miniseries told the story of two families and their experiences between 1859 and 1865. The two families in question are the Geysers and the Hales. The Geyers and the Hales are linked by two sisters portrayed by Colleen Dewhurst and Diane Baker. Although the miniseries revealed the families’ experiences via many characters, the two main characters in the story are John Geyser (John Hammond), who is the third son of the Virginia Geysers and Jonas Steele (Stacy Keach), a former Pinkerton agent and abolitionist who befriends John and marries the latter’s Pennsylvania cousin, Mary Hale (Julia Duffy).

Many sagas about the Civil War – especially those on television – tend to focus upon wealthy families or those from exclusive families. Prime examples of this would be 1939's "GONE WITH THE WIND", the "NORTH AND SOUTH" Trilogy (1985-1994), 1980's "BEULAH LAND" and the 1984 miniseries called "LOUISIANA". "THE BLUE AND THE GRAY" took another route in which its main characters hailed from a middle-class background. The patriarchs of the two families seemed to reek of the middle class. As I had earlier pointed out, John Geyer’s father was a middling farmer named Ben Geyser (Lloyd Bridges). And his uncle by marriage – Jacob Hale Sr. (Robin Gammell) – happened to be the owner and editor-in-chief of a small newspaper in Gettysburg, Pennsylvania.

Even after thirty-two years, I still enjoyed "THE BLUE AND THE GRAY". It has not lost its allure one bit. It rarely played footloose with history. And aside from the miniseries’ last fifteen to twenty minutes, it managed to maintain a brisk pace despite being at least eight (8) hours. The two leads – John Hammond and Stacy Keach managed to create an excellent chemistry and it was easy to view the pair as close friends. And both men were ably supported by a first-rate cast. But amongst them, I was especially impressed by the performances of Julia Duffy as Mary Hale – John’s cousin and Jonas’ wife; Brian Kerwin as Malachai Hale, Mary’s oldest brother; Cooper Huckabee as Matthew Geyser, John’s oldest brother; Dan Shor as Luke Geyser, John’s irrepressible younger brother; Paul Winfield as Jonathan Henry, a free black pottery maker and John's close friend; and Gerald S. O'Loughlin as the Hale brothers’ platoon leader Sergeant O’Toole. I also have to commend upon Gregory Peck’s steady, yet humorous take on Abraham Lincoln and Sterling Hayden for refraining from an over-the-top performance, while portraying abolitionist John Brown.

Someone once complained that the battle sequences in "THE BLUE AND THE GRAY" came off as rather bloodless. I found this complaint a little ridiculous, considering that this story was presented as an eight-hour television miniseries, rather than a theatrical movie. After all, the miniseries was made at least 16 to 17 years before Steven Spielberg's 1998 movie, "SAVING PRIVATE RYAN", which changed the cinematic look of battles. Besides, I saw plenty of blood in the miniseries. But two of the most chilling scenes in "THE BLUE AND THE GRAY" barely featured any blood:

*John Geyser’s brother Mark (Michael Horton) found himself badly wounded during the Battle of the Wilderness, while the woods surrounding him burn from shellfire.

*Jonathan Henry is lynched for helping two runaway slaves by a local slave patrol led by a fanatical pro-slavery preacher (Warren Oates). What is amazing about this scene is that it happened partially off screen.

As much as I like "THE BLUE AND THE GRAY", it does have its flaws. My main complaint about the miniseries has a lot to do with the vast number of extras and minor characters in the story. Granted, there are some minor characters portrayed by veteran character actors who gave solid performances like Rory Calhoun, Christopher Stone, Julius W. Harris and Geraldine Page. Unfortunately, their presence could not hide the number of amateur . . . or should I say very untalented actors and actresses in minor roles. A prime example would be a nameless actor who portrayed a patriotic Union officer that John Geyser met at the Willard’s Hotel. And there was the actor who portrayed Confederate general Barnard Bee, whose declaration of a famous line was at best hammy. I have no idea why producers White and Reda had hired these people in the first place. Perhaps they were desperate to fill as many roles as possible. 

I have two other problems. One happened to be the romance between John Geyser and the daughter of a Massachusetts senator named Kathy Reynolds, portrayed by Kathleen Beller. Quite frankly, they made quite a boring pair. There is nothing more boring than a couple consisted by two people inclined to be reserved. Superficially, they looked cute. Individually, both John Hammond and Beller gave very first-rate performances. But as an on-screen romantic pair . . . they bored the pants off me. And the last problem with the miniseries centered on its last half hour. Its coverage of the war's last months dragged incessantly. This period stretched from John, Emma and Jonah's efforts to free John and Emma's younger brother Luke from prison in Fort Elmira, New York; to the aftermath of President Lincoln's asassination. The pacing during this sequence was incredibly slow and it took a great deal of effort on my part just to stay awake. The only segment that struck me as interesting during this sequence was Jonah and John's failed efforts to prevent the president's asassination.

But "THE BLUE AND THE GRAY" had some memorable scenes. Two of them featured actor Cooper Huckabee. Portraying the oldest Geyser sibling Matthew, I believe that he gave the best performance. And Huckabee had the opportunity to shine in the following scenes:

*A brief, yet emotional reunion between Matthew and John Geyser in the lines right outside Vicksburg, Mississippi.

*Matthew’s death, following a minor battle at the Geyser Farm (beautifully acted by Huckabee).

And there were other memorable scenes, as well. There was what I consider to be the two funniest in the entire miniseries – namely Malachai Hale’s hilarious encounter with a Confederate soldier, while both were trying to hide from a battle; and the barn dance behind enemy lines that the Hale brothers and John Geyser had attended at the invitation of John’s mischievous younger brother Luke, who had become a Confederate soldier during the war's second year. The latter scene also featured Canadian actor Duncan Regehr ("ZORRO") as a Confederate officer, affronted at the idea of two Union soldiers and a correspondent behind enemy lines at a barn dance. I also enjoyed the scene featuring the Hale family witnessing a speech by President-elect Lincoln at a whistle stop in Southern Pennsylvania. And both the lynching of Jonathan Henry and the entire Battle of the Wilderness sequence seemed both poignant, yet too harrowing to believe.

It seems a shame that "THE BLUE AND THE GRAY" is barely mentioned by film critics or fans in regard to Civil War movies in the theaters or television. Quite frankly, it is one of the better ones I have ever seen. It gave a view of the late antebellum period and the Civil War through the eyes of the masses rarely seen in movies like ”GONE WITH THE WIND” or the ”NORTH AND SOUTH” trilogy. I heartily recommend it.

"THE BLUE AND THE GRAY" (1982) Photo Gallery

Below are images from the 1982 miniseries, "THE BLUE AND THE GRAY". Directed by Andrew V. McLaglen, the miniseries starred John Hammond and Stacy Keach: 


"THE BLUE AND THE GRAY" (1982) Photo Gallery

"HOW THE WEST WAS WON" (1962) Review

"HOW THE WEST WAS WON" (1962) Review

This 1962 movie was among the last of the old-fashioned "epic" films that was released by Metro-Goldwyn-Mayer (MGM). Filmed using the Cinerama widescreen process, it featured an all-star cast directed by at least three directors.

After making the decision to use the Cinerama wide-screen process, MGM decided to produce a cinematic adaptation of LIFE magazine's 1959 series of articles about the history of the American West. Screenwriters James R. Webb and John Gay (uncredited) achieved this by focusing the film on two to three generations of family that migrated westward from western New York, to Southern Ohio, to California and finally to the deserts of Arizona. The story stretched out in a period of fifty (50) years from the late 1830s to the late 1880s. According to Wikipedia, the movie was set between 1839 and 1889. Yet, Webb and Gay's script never indicated this. The movie consisted of five segments that were directed by three directors, Henry Hathaway, John Ford and George Marshall.

"The Rivers", which was directed by Henry Hathaway, focused on the Prescott family's journey from western New York to Southern Ohio, in an attempt to reach the Illinois country via the Erie Canal and the Ohio River. During their journey, they meet a mountain man named Linus Rawlins, who falls in love with eldest daughter, Eve; encounter murderous river pirates; and are caught in some dangerous rapids during their trip down the Ohio River. The last part of their journey ends in Southern Ohio, when the patriarch and matriarch of the Prescotts are drowned and Eve decides to remain there. She eventually marries Linus and her younger sister, Lilith decides to head to St. Louis.

In "The Plains", Lilith Prescott is a dance hall entertainer in St. Louis, when she receives news of an inheritance - a California gold mine - from a former patron. In order to join a California-bound wagon train, Lilith becomes the traveling companion of a middle-aged woman named Agatha Clegg. She also becomes the romantic object of two men - the hard-nosed wagonmaster Roger Morgan (who has a ranch in California) and a professional gambler named Cleve Van Valen. Lilith eventually forms an attachment to Cleve. But when her inheritance turns out to be a bust upon their arrival in California, Cleve abandons her. He eventually reconciles with her on a Sacramento River steamboat and the two marry. Hathaway also directed.

John Ford directed "The Civil War", a short segment about the experiences of Zeb Rawlins' (Eve and Linus' elder son) at the Battle of Shiloh during the Civil War. Although Zeb survives, his father was killed during the battle, and his mother died before his return to the family's Ohio farm. Zeb decides to remain in the Army after the war.

"The Railroad" was about Zeb's experiences as an Army officer during the construction of the railroad during the late 1860s. He tries and fails to keep the peace between the construction crew led by a man named Mike King and the local Arapaho tribe. The Arapho incites a buffalo stampede through the railroad camp after King breaks another promise. And Zeb resigns from the Army. George Marshall directed.

Hathaway directed the final segment, "The Outlaws", which featured Zeb's last days as a law officer, as he tries to prevent a group of outlaws led by a man named Charlie Gant from stealing a shipment of gold. After he is successful, Zeb and his family join his widowed aunt Lilith on a trip to her new Arizona ranch.

"HOW THE WEST WAS WON" was nominated for eight Academy Awards, including Best Picture. It won three won - Best Screenplay, Best Film Editing and Best Sound. It is also considered a favorite of director Ron Howard. I might as well be honest. I have always liked "HOW THE WEST WAS WON". If I had not, I would have never purchased the DVD set. But I cannot see how it was ever nominated for Best Picture, let alone won the Best Screenplay Oscar. It was NOT that great. To me, "HOW THE WEST WAS WON" was a mediocre epic that featured a small handful of excellent performances, great photography and a superb score.

The fifty year period that spanned "HOW THE WEST WAS WON" struck me as more suitable for a television miniseries, instead of a movie - even if it had a running time of 162 minutes. There was too much going on in this film and its time span of fifty years was simply too long. The 2005 miniseries, "INTO THE WEST" had a similar premise, but it had the good luck to be aired in a six-part miniseries that ran for 552 minutes. And because of the lack of balance between the story's premise/time span and its running time, the story about the Prescott-Rawlins family seemed half-empty . . . and rushed.

The best of the five segments are the first two directed by Henry Hathaway - "The River" and "The Plains", which featured the Prescotts treks from New York, to Ohio. Although not perfect, thanks to some plot inconsistency and historical inaccuracy. What makes these two segments superior to the other three is that are longer and if I must be frank, more substantial. I could not decide between the two segments on which was my favorite. I enjoyed viewing the family's journey down the Ohio River and the exciting battle with the river pirates. On the other hand, both Debbie Reynolds and Gregory Peck's performances made "The Plains" very enjoyable for me.

But the worst of the three segments is the third one directed by John Ford - namely "The Civil War". I hate to say this, but John Wayne did not make an effective William T. Sherman. The recently deceased Henry Morgan did a slightly better job as Ulysses S. Grant - frankly, by saying as little as possible. As for the segment, the screenwriters and Ford did not even bother to feature any plausible battle scenes of Shiloh. Instead, the audience was subjected to a quick montage of Civil War scenes from other MGM movies - probably 1957's "RAINTREE COUNTRY". The only good thing about this segment was the beginning scene, when Zeb said good-bye to his mother and younger brother . . . and the last scene, when he said good-bye and handed over his share of the family farm to his brother.

I enjoyed the work of the cinematography team led by the legendary William H. Daniels very much. I noticed that a great deal of the movie was shot on location in many of the national parks in the United States. However, the Cinerama process took away some of the grandeur with the curved lens, which made it impossible for Daniels and the others to film any effective close ups. And has anyone ever notice that whenever two of the actors seemed to facing each other, their lines of sight seemed to be slightly off? It must have been hell for the actors to face off each other in a scene, while being unnaturally positioned for the camera.

There were certain aspects of "HOW THE WEST WAS WON" that made it enjoyable for me. Debbie Reynolds, Carroll Baker, George Peppard, Gregory Peck, Thelma Ritter, Henry Fonda, Lee J.Cobb and Eli Wallach gave the best performances, as far as I am concerned. Spencer Tracy did a top-notch job as the film's narrator. But I especially have to commend Reynolds, Baker and Peppard for damn near carrying this film. Without them, this movie would have folded like a sheet of paper. There were some performances that did not ring true to me. According to one scene that featured Linus Rawlings' grave, Eve's husband and Zeb's father was born in 1810. I hate to say this, but James Stewart was too old - at the age of 53 or 54 - to be portraying a 29 year-old man. He gave an entertaining performance, but he was too damn old. Karl Malden, who portrayed Eve and Lilith's father, struck me as a bit too hammy for my tastes. So were Robert Preston, who portrayed the gauche wagonmaster Roger Morgan; and Richard Widmark, who portrayed the railroad boss Mike King. Everyone else was . . . okay.

What was the best thing about "HOW THE WEST WAS WON"? The music. Period. It . . . was . . . superb. Every time I hear the first notes of Alfred Newman's score at the beginning of the movie, I feel goosebumps. I love it that much. As much as I enjoyed John Addison's score for "TOM JONES", I find it mind boggling that it beat out Newman's score for "HOW THE WEST WAS WON". I just cannot conceive this. Newman also provided 19th century music from the era for the movie and it was used beautifully . . . especially in "The Plains" segment. With Reynolds portraying a dance hall performer, she provided moviegoers with entertaining renditions of songs like "What Was Your Name in the East?", "Raise a Ruckus" and the movie's theme song, "Home in the Meadows".

What else can I say about "HOW THE WEST WAS WON"? It is an entertaining movie. I cannot deny this. It featured first rate performances by the leads Debbie Reynolds, Carroll Baker and George Peppard. It featured beautiful photography shot by a team of cinematographers led by William Daniels. And it featured some gorgeous music, which included a superb score written by Alfred Newman. But it is a flawed movie tainted by historical inaccuracy and a story that would have been served best in a television miniseries. I am still astounded that it managed to earn a Best Picture Academy Award.



"THE BIG COUNTRY" (1958) Review

"THE BIG COUNTRY" (1958) Review

William Wyler and Gregory Peck first worked together in the 1953 comedy classic, "ROMAN HOLIDAY". The director and the actor became close friends and spent a few years trying to find the right property for which they could co-produce and work on together. Peck finally came across a magazine story, which eventually transformed to the movie screen as 1958's "THE BIG COUNTRY".

The magazine story in question happened to be the 1957 Saturday Evening Post serialized article called "Ambush at Blanco Canyon". Written by future Matt Helm author, Donald Hamilton; the story was basically about a Baltimore sea captain, who travels to Texas to claim his bride, the daughter of a wealthy rancher; and finds himself in the middle of a bitter feud between his future father-in-law and less wealthy rancher.

"THE BIG COUNTRY" began with the arrival of sea captain Jim McKay to a small, dusty town in western Texas to join his fiancée Patricia Terrill at the enormous ranch owned by her father, Major Henry Terrill. Terrill has been feuding with Rufus Hannassey, the patriarch of a poorer, less refined ranching clan. Patricia's friend, schoolteacher Julie Maragon, owns the "Big Muddy", a large ranch with a vital water supply. Although she cannot afford to hire men to operate her ranch, Julie is caught in the middle of the Terrill-Hannassey feud, as she has been allowing both Terrill and Hannassey to use her water for their cattle, while both ranchers long to buy her land in order to put the other man out of business. McKay refuses to be provoked into proving his manhood, having sworn off such behavior since his father died in a meaningless duel. He does nothing to stop Hannassey's trouble-making son Buck from harassing him during his and Patricia's ride to the Terrill ranch; and he declines a challenge by Terrill's foreman, Steve Leech, to ride an unruly horse. When McKay decides to purchase Julie's ranch and maintain her promise to provide water for the two rivals, matters eventually escalate into romantic problems and more violence between Terrill and Hannassey.

During his first three years as a director, William Wyler worked only on Westerns. Then between 1929 and 1940, he directed two Westerns - "HELL'S HEROES" (1930) and "THE WESTERNER" (1940). Wyler waited another seventeen-to-eighteen years before he worked on his final Western, 1958's "THE BIG COUNTRY". Although many movie fans seemed to like "THE BIG COUNTRY", very few seemed to regard it as one of his finest films. I cannot decide whether or not I would view it as one of his best films. But if I must be honest, I do consider it as one of my favorite Wyler movies . . . even if my opinion of it has declined slightly over the years.

My recent viewing of "THE BIG COUNTRY" made me realize that it might be at least 40 minutes too long. A tight story about an Easterner getting caught in the middle of a land feud did not seem epic enough for a movie with a running time of 165 minutes. After he had finished production on the film, Wyler rushed into pre-production for his next film, "BEN-HUR". Co-producer and star Gregory Peck had feuded with him over a scene that he felt needed some serious editing. tried to convince him to finish "THE BIG COUNTRY" with some much needed editing - a feud that lasted two years. And their feud was not helped by Wyler's preoccupation with "BEN-HUR". In the end, I believe that Peck had a right to be concerned. I feel that the movie needed a good deal of editing. Wyler wasted a good deal of film on Buck Hannassey and his two brothers' hazing of Jim McKay during the latter and Patricia Terrill's ride to her father's ranch. The movie also wasted film on McKay's self-challenge to ride the very horse that Steve Leech had earlier dared him to ride - Old Thunder. That scene took too damn long. Wyler also seemed enraptured over the eastern California and western Arizona landscape that served as Texas in the movie. Perhaps he became too enraptured. In the end, it seemed as if Wyler's interest in Western culture and landscape had almost spiraled out of control. Even worse, "THE BIG COUNTRY" almost became a series of far shots to indicate the size of the movie and its setting.

Despite its flaws, "THE BIG COUNTRY" still remains a big favorite of mine. Robert Wilder, along with Jessamyn West, James R. Webb and Sy Bartlett did a first-rate job in adapting Hamilton's story. Their efforts, along with Wyler's direction, produced what I believe turned out to be one of the most unique Westerns I have ever seen. What I enjoyed about "THE BIG COUNTRY" was that it took the public's image of what a Western - whether made in Hollywood or published in novels and magazines - and turned it on its head. Rarely one would find a Western in which its hero is a mild-mannered personality with the guts to reject the prevailing ideal of a Western man. The 1939 movie "DESTRY RIDES AGAIN" came close to it, but its quiet hero was an expert gunman, despite his "pacifist" ways. Even the Jim McKay eventually gives in to his own aggression, due to his developing feelings toward his fiancee's best friend, Julie Maragon. But he also ends up learning a good deal about himself, thanks to Rufus Hannassey. I found it interesting that movie made a big deal over an eventual conflict between Terrill and Hannassey's two "lieutenants" - Terrill's foreman Steve Leech and Hannassey's oldest son Buck. And yet, both ended up clashing with McKay over two women - Pat Terrill and Julie. And their clashes with Jim ended with ironic twists one rarely or never finds in many other Westerns.

"THE BIG COUNTRY" featured an excellent cast led by the always remarkable Gregory Peck. I cannot deny that he gave a first-rate portrayal of a character many might find uninteresting. I think that Peck's Jim McKay would not have been that interesting in a modern-day tale. But as a character that upset the notions of manhood in the West . . . he was perfect for this story. As I had stated earlier, even McKay could not contain his emotions any longer. And Peck did a fine job in slowly revealing his character's contained emotions - whether it was his dislike of Steve Leech, who constantly taunted him out of jealousy toward his engagement to Patricia; his frustrated anger at both Henry Terrill and Rufus Hannassey's unwillingness to end their destructive feud; or his anger at Buck Hannassey, whom he viewed as a threat to a woman he eventually grew to love, namely Julie. Not surprisingly, Peck did an excellent job in holding this movie together.

But there were other performances that also caught my eye. The always dependable Jean Simmons gave a charming and solid performance as schoolmarm Julie Maragon. Charles Bickford, who had first worked with Wyler in "HELL'S HEROES", did a fine job in revealing Henry Terrill's malice and ego behind a dignified facade. "THE BIG COUNTRY" proved to be the last movie for Mexican-born actor Alfonso Bedoya (known for a famous line from the 1948 movie, "THE TREASURE OF SIERRA MADRE". What I enjoyed about Bedoya's portrayal of Terrill ranch hand Ramón Guiteras was his ability to reveal his character's wisdom behind the cliché of the childlike immigrant. I would go even further to state that Bedoya's Ramón proved to be the wisest character in the story.

Chuck Connors is finally receiving some recognition of his performance as the blowhard Buck Hannassey and I say that it is about time. Most people tend to dismiss his character as a one-note bully . . . a typical cliché of what one might find in a Western. But thanks to Wyler's direction and Connors' acting skills, the latter also revealed the pathetic boy who had more or less longed for the love and respect from a parent who never liked him and who may have bullied him. Charlton Heston's Steve Leech also proved to be a surprise. His character also started out as another cliché - the solid and virile Western cowboy. Thanks to Heston's skillful performance, he developed Steve into a mature man who began to question the West's code regarding manhood and who realized that the man he admired - Henry Terrill - may not have been as admirable as he had perceived for so long. One of Heston's best moments on the screen was his quiet and determined effort to stop Terrill from the leading their cowboys into an ambush set up Hannassey in Blanco Canyon.

I was surprised to realize that the Patricia Terrill character, portrayed by Carroll Baker, struck me as more of a contrast to Buck Hannassey than Steve Leech. Whereas Buck longs for his father's respect and admiration, Patricia has her father's love in spades. Perhaps too much of it. Buck has spent most of his life being bullied by Hannassey. Patricia has spent most of her life being spoiled. Buck reacts with violence or bullying tactics when he does not get his way. Patricia resorts to temper tantrums. And she turns out to be just as childish and pathetic. I was shocked to learn that Baker now possesses a reputation for being a sex symbol. It seemed the public has tacked this reputation on her, based upon a handful of movies she appeared in the 1960s. I find this criminal, for it is plain to me that she was a very talented actress, who did a superb job in capturing the spoiled and childish nature of Pat Terrill. I feel she gave one of the best performances in the movie. But the one cast member who walked away with an award for his performance was singer-actor Burl Ives, who portrayed Henry Terrill's rival, the seemingly brutish and sharp-tongued Rufus Hannassey. I might as well say it . . . he deserved that Best Supporting Actor Oscar. Some have claimed that he actually won for his performance in another movie, "CAT ON A HOT TIN ROOF". Others have claimed that he won for his performances in both movies. I have never seen "CAT ON A HOT TIN ROOF". But I cannot deny that he was SUPERB in "THE BIG COUNTRY". Ives had all of the best lines and he did wonders with it . . . especially in his scenes with Chuck Connors. His Hannassey seemed to be, without a doubt, not only the most interesting character in the movie, but also I feel that Ives gave the best performance.

Even though I found some of the movie's photography excessive and its editing almost non-existent, I still found myself enraptured over cinematographer Franz Planer's work. He really allowed the eastern California and western Arizona locations to live up to the movie's title. Without Wyler's post-production input, Robert Belcher and John Faure's editing pretty much came up short. However, there was one scene in which their work, along with Wyler's direction and Planner's camera, made it one of the most memorable in the movie. I am sure that very few have forgotten that moment in which a silently exasperated Leech changed his mind about following Terrill into Blanco Canyon. This entire sequence was enhanced by the stirring score written by Jerome Moross. Speaking of the composer, Moross received a much deserved Oscar nomination for the movie's score. Personally, I would have preferred it he had actually won. In my opinion, his score for "THE BIG COUNTRY" is one of the best ever in Hollywood history.

Is "THE BIG COUNTRY" one of the best movies ever directed by the legendary William Wyler? I really cannot say. I have seen better movies directed by him. The movie has some series flaws, especially in regard to editing and too many far shots. But thanks to an unusual story, an excellent cast led by Gregory Peck, a superb score by Jerome Moross and some not-too-shabby direction by Wyler, "THE BIG COUNTRY" remains one of my favorite Westerns of all time.

"THE BIG COUNTRY" (1958) Image Gallery

Below are photos and screenshots from the 1958 Western, "THE BIG COUNTRY". Directed by William Wyler, the movie starred Gregory Peck, Jean Simmons, Charlton Heston and Carroll Baker:


"THE BIG COUNTRY" (1958) Image Gallery