The current trend in home theater releases includes the re-release of some vintage classics revitalized with high definition remasterings. For long time cinemaphiles and collectors such as me this presents the welcomed opportunity to not only expand the scope of our library of films but in many cases it permits an opportunity to revisit some favorite films. Since these Blu-ray editions vastly improve the look and sound of the movies you can often get the feeling that you are watching it for the very first time. When that is combined with the familiar content it can seem like revisiting an old friend after many years. One of the studios in the vanguard of this incentive is MGM/UA who has been releasing select items from their incredibly diverse catalogue to Blu-ray on a fairly regular basis. With any significantly set of films the quality of the content will exhibit a substantial range. One of the latest to reach the shelves is one of the great examples of filmmaking of its time; ‘The Big Country’. It is a redefinition of one of the truly American film genres, the western. ‘The Big Country’ is as grand and sprawling as the title promises. It has gathered its share of detractors of time but the generally accepted consensus places this movie in the heights of American cinema. Although the original movie was produced in a modest video, 35mm Technirama and monaural audio the care given to the high definition enhancement does indeed present an added dimension to the film. I can only imagine how the filmmaker would wave utilize such technological marvels we consider common place today but I am reasonably certain he would have appreciated the treatment Blu-ray affords his film. It is necessary to keep an open mind while viewing this movie and remember that more than usual it is vital to place the film in context as to the time period of its creation. 1958 was the transition from the post World War Two anti communist suspicions to the all out paranoia of the cold war. This allowed the filmmaker to utilize the format of the western to relate as much different message that before. This did raise a degree of controversy back then but now it is possible to watch from the distance that 53 years provides.

James McKay (Gregory Peck) has built a career at seas attaining the position of ship’s captain but now it is time to come ashore to settle down. To the achievement of his end he has moves to the great American West to marry his fiancée, Patricia (Carroll Baker). At present she lives on the family ranch with her father Major Terrill (Charles Bickford). For many years her father has been engaged in a bitter feud with the owner of a neighboring ranch, Rufus Hannassey (Burl Ives). His place was not as prosperous as the Terrill place it has a strong family history that is typical of that region. Caught in the middle of the feud is an old friend of Patricia’s Julie Maragon (Jean Simmons). She is the owner of a large ranch aptly named ‘The Big Muddy’ reflecting the control it has for region’s vital water supply. Historically, water rights were at the center of many vicious, bloody conflicts that escalated into all out local wars. Julie, a school teacher by profession, has been permitting the Major access to the flow of water for his cattle due to her long time friendship to the family but Terrill has been exerting increasing pressure to buy her out thereby monopolizing the water rights. McKay is reluctantly pulled into the quagmire initially with derisions against his masculinity but due to a tragic incident that killed his father. McKay remains steadfast in his neutrality not reacting to the belligerence displayed by Buck Hannassey (Chuck Connors) as well as refusing to accept a challenge from the Terrill foreman, Steve Leech (Charlton Heston). Everyone, including Patricia consider this refusal to act as cowardly but McKay remains firm in his beliefs. Eventually, tempers eclipse common sense and the resolution of last result is employed; the traditional western duel. Historically this means of conflict resolution was exceedingly rare, the shot in the back being far more common but this movie is founded on taking old west archetypes presenting them in a modern light.

The main thematic tie to the traditional western is twofold. First there is the basis for the family centric feud, water rights. Many films had been based on this type of conflict which was a significant motivation as our country expanded west into the new territories. Next, the more important connection forged is the concept of the unshakable personal code of conduct. The characters depicted here portrayed as fervent in their convictions as any old west hero from Tom Mix to The Lone Ranger. The important difference is the way McKay remains unmovable in his dedication to pacifism. While many traditional western Good guys were slow to rise to violence most did not back down when a point of honor was on the line. This reluctance to embrace a violent resolution upset a sizeable portion of the audience generally attributed to how this execution of the familiar plot device seemed antithetical to what we have been indoctrinated to expect from our earliest movie exposures.

Now comes the part about the historical period the film was released. In 1958 the American people were placed on high alert to the ‘Communist Menace’ by the infamous McCarthy Hearings. Our country was just recovering from a deadly conflict that consumed the entire globe. This divided the nation with many wanting the United States to ‘finish the job’ and use the military to crush the Soviet Union. Due in large part to the reality of annihilating our entire planet with the stockpile of nuclear weapons held by the two super powers instituted a new peace movement. The familiar Peace symbol was derived from the semaphore signals for ‘ND, Nuclear disarmament. ‘The Big Country’ flew in the face of the older generation’s view of the traditional western. This film was part of a new type of Western, one used as an allegory of pertinent social issues. Now it is possible to return to this pivotal film and examine it in the clear hindsight of retrospection.