Giant was directed by American military propagandist George Stevens, director of the Nazi Concentration Camp footage (even helping with the footage used for the “eye for an eye” Nuremberg trials) taken after World War II and the feature The Diary of Anne Frank. To call Stevens a propagandist would be letting him off too lightly, for his films are partly responsible for the passive psychosis that has consumed the Faustian soul since the end of the World War II. George Stevens is one of the principle creators of the Holocaust Mythos which would set the standard for Steven Spielberg and others looking to milk Europe for some good ol’ cash for Israel and of course the millions of Holocaust survivors. Giant has nothing to do with the Holocaust, but it is another film that attacks the Faustian man, the conquer of the world. Giant was one of the first (if not the first) Hollywood film to comment on the “racism” of Aryan Texans against poor conquered Mexicans and Indians, a message that is fairly common with Hollywood today. Pseudo-Injun hack Robert Rodriguez’s upcoming pile of cinematic excrement Machete features a group of poor victim illegal alien invaders wielding Machetes against evil racist law-abiding American citizens. It should be quite the epic and such an artistically-sound picture could not exist without the legacy of George Stevens epic anti-Gringo (anti-Gringo in the organic Gringo sense, not in the deracinated self-loathing "progressive" liberal Gringo sense) piece Giant.
For such a giant Texas epic as Giant, one would expect the most stoic and heroic of cowboys as the lead protagonist. Of course, with a director like George “The Indian (his real-life nickname)” Stevens, the lead protagonist is an “Independent woman” from Maryland named Leslie (played by Elizabeth Taylor). Leslie is certainly the proto-Feminist type that would act as a model for all those “liberated” women to come. Marylander socialite Leslie ropes herself Bick Benedict of the famous Texas Benedict family and heads down southwest to start her new life in Texas. Immediately, Leslie is appalled by the fact the poor whites and especially poor Injuns, are considered lesser citizens. Being the independently minded woman she is, Leslie believes that Texas was stolen from poor Mexicans. I guess being an Independent-minded woman, Leslie doesn’t realize that being dominated means being naturally at the lower end of the totem pole. After all, people should really embrace Marxist metaphysics and feel very bad about being conquerors and winners. One should always look at victims, losers, and the defeated as the most virtuous of God’s many children. After some time of complaining and whining, Leslie eventually convinces Bick to break most of his family traditions in the name of human progress. Giant is certainly one GIANT HEART WARMER!
James Dean plays a degenerate cowboy by the name of Jett Rink. Jett is hated by most of the Texans that know him except for Bick’s sexually ambiguous sister Luz. After trying to prove her manhood by riding a wild black stallion, Luz takes a wicked western crash that results in death. Luz wanted her boy toy Jett to have a little piece of Benedict land, a piece of land that proves mighty wealthy for it’s size due to the oil hidden underneath it. After finding oil, Jett Rink goes from being the gayest Cowboy in Texas to the richest man in Texas. Unfortunately, James Dean did not have the chance to do much as the character of Jeff Rink. He goes from being a pathetic cowturd to a rich arrogant asshole in what seems like a couple minutes. Who cares about character development when you got a film as big as Texas. The one positive aspect of James Dean’s performance is that despite dying young in real-life, he at least got to grow old cinematically in Giant. Too bad that James Dean looks like an elderly toddler in his aging makeup. Dean’s real-life friend Dennis Hopper also makes an appearance in Giant as the weak doctor son of Bick Benedict. The young Hopper’s performance is at the very least entertaining, but it doesn’t save this films epic failure in character development.
Old Man Dean
At the end of Giant, big Bick Benedict is a broken man with a shattered legacy. He states of his mongrel mestizo Grandson, “My own Grandson doesn’t even look like one of us. He really looks like a little wetback.” The last shot of the film then shows an blue-eyed blond-haired child then it cuts to Bick’s swarthy mongrel Grandson. This ending of Giant also symbolizes the new youth of America to come with the Open Immigration Act of 1965 (which opened up America to Third World Immigration and Suicidal Globalization) being in acted not long after the release of Giant. Without the help of sentimental melodramas like Giant, White Americans could not have been as so accepting and stupid to give their country away to people that show the incapacity to buildup (let alone maintain) their own countries. What a nice big national turn for the worst. Giant is a testament to the fact that Independent women and the emasculated American white male have really turned America into a prosperous place of progress and equality, a place where the future is destined to be a great one.