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Bigger Than Life (The Criterion Collection) [Blu-ray]

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Talk about a film ahead of its time, Nicholas Ray's 1956 drama Bigger than Life tanked upon release in the US most likely because of its dark, brooding and unflinching observations on suburban life (the film is partially based on Ray's own childhood, if I'm recalling correctly.); people back then didn't want to be told about the monster next door, and to a lesser extent people today still don't want this, but Ray's film is so perfect in every respect that one can't look away from the screen for a moment.

Ray, like Fuller, unfortunately was, more or less, wholly ignored in the US during his life but was immensely popular with the Cahiers kids and I'm glad to see that in the past decade or so his films, besides the popular Rebel Without a Cause, are getting some serious reevaluations.
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Here's the details, for those interested, in regards to the Criterion release:

* New, restored high-definition digital transfer, with uncompressed monaural soundtrack on the Blu-ray edition
* Audio commentary featuring critic Geoff Andrew (The Films of Nicholas Ray)
* Profile of Nicholas Ray (1977), a half-hour television interview with the director
* New video appreciation of Bigger Than Life with author Jonathan Lethem (Chronic City)
* New video interview with Susan Ray, widow of the director and editor of I Was Interrupted: Nicholas Ray on Making Movies
* Theatrical trailer
* PLUS: A booklet featuring an essay by critic and video maker B. Kite
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Here is to hoping that they get their hands on Johnny Guitar.

In BIGGER THAN LIFE, director Nicholas Ray and producer/star James Mason explored the dark side of suburban life. James Mason delivers one of his most accomplished and subversive performances in this sadly-neglected 1956 movie gem, the story of a man pushed to the brink of madness thanks to his abuse of a 'miracle drug'.

Mild-mannered schoolteacher Ed Avery (James Mason) works hard to provide for his wife Lou (Barbara Rush) and young son Richie (Christopher Olsen), secretly working after-hours as a taxi switchboard operator. When Ed is struck down by a debilitating and potentially fatal illness, doctors prescribe wonder drug Cortisone, and it seems to do the trick. Ed feels more confident than he has in years, and loves to spoil the family with expensive trips to the department store. But Ed's dependence takes a darker turn when he begins taking the pills in larger quantities. Lou and Richie can only stand by helplessly as Ed angrily lashes out, hurling abuse and insults at his wife and son. The mood swings only get worse as the weeks wear on, to the moment when Ed finally cracks completely...

I won't try to spoil any major plot points. BIGGER THAN LIFE will surprise and shock you with it's hard-hitting subject matter, and the frank way it's depicted was I'm sure the main reason why the movie flopped in 1956. It's well and truly the flipside of "Father Knows Best". Today the movie still rings true because so many families are dealing with similar issues on a daily basis. James Mason and Barbara Rush are completely mesmerising to watch here. Child actors from the 1950's are normally very mannered and "trained" on screen, but young Christopher Olsen is heartbreaking as the tortured Richie; his performance absolutely rings true. Walter Matthau, Kipp Hamilton and Roland Winters are also very fine.

***** 1956. Directed by Nicholas Ray. A teacher, suffering from a rare and painful disease, accepts to take cortisone, a new drug in the 50's, under medical surveillance. Unfortunately, the patient modifies his prescriptions and becomes little by little psychotic. This undisputable masterpiece presents in 95 minutes all the major Nicholas Ray themes: an idealistic hero who can't accept his average destiny, the bitter study of the American way of life and a smart use of the new Technicolor technology, with its new space offered to the directors, to name a few. Some scenes, like the scenes with the mirrors, are already part of Movie History. You can now buy a zone 2 DVD of BIGGER THAN LIFE at Amazon.fr with a perfect copy of the film and very interesting featurettes about the themes handled by Nicholas Ray in this film. A DVD zone your library.

Nicholas Ray has long been one of the most underrated directors. He may have been recognized and respected for his groundbreaking Rebel Without A Cause, but his much of his output was long ignored by mainstream audiences and critics alike. The tide has recently been shifting and Ray's other output has begun to receive the recognition it deserves. Bigger than Life is Ray's 1956 effort concerning mental illness, drug use, and the 1950's family structure.

Bigger than Life tells the tale of Ed Avery, a good-natured school teacher who in the hard 50's is juggling an additional job at a Taxi company to provide for his family. As the pressure of everyday life and these two jobs mount up, he notices certain bouts of pain and even a few blackouts. Dismissing these episodes, it later becomes obvious to him and his family that he is unable to keep up with daily life in such a way. A specialist tells him that he has a very rare inflammation of the arteries; a condition that would grant him only a short few months to live. The only way of combating this disease is a new experimental steroid hormone called Cortisone. This abuse of this drug which Ed must take for the rest of his livelihood in has extremely adverse effects such as Psychosis, a condition with symptoms such as hallucinations and impaired judgment.

Ray's treatment of Ed's abuse of Cortisone is simply jaw-dropping. The audience continually waits and waits for a violent outburst, an outburst that literally tears the family apart-but it doesn't happen. Ray could have easily taken this condition and created a violent and physically abusive monster, but he keeps Ray controlled. On the surface, besides his little conspiracy and new-found ideologies Ed does not seem to be effected in a major way by the drug. Ray knows that if he transgresses toward violence and abusive, his film will become the average deleterious suburban family film. The film eventually does display Ed's breaking point, emotionally and psychologically, but does it with such subtle consideration that its arrival surprises and shocks. Ed's eventual violent outburst has such an unexpected biblical context that we uncontrollably grin at the screenplay's shrewd inclusion of this incident. It's not only the late inclusion of the Ed's biblical revelation, nor his alternation of it, but Ray's provocative method of approach.

Bigger than Life ushers back the era where films were not only simple in their approach, but even the conflicts were more clearly and effectively constituted. In Bigger Than Life, the adverse effects of the drug are so carefully displayed that at certain times it just seems as if he has gone through a spiritual and philosophical revelation. Ray treats psychosis as psychosis should be treated: multi-layered and channeling multiple symptoms. Nowadays, film freely display mental ill patients, such as Schizophrenics, as beginning at the peak of the disease, either with a single noticeable symptom or suddenly with all symptoms. Rarely do they spend time developing and showing the meager signs of mental illness, and eventually displaying the illness in its most domineering stages.

Bigger than Life is so focused in its approach to Ed's illness that it is overwhelming. There is no subordinate plot that disrupts the story or the audience's attention. The film is a reflection, a dark one, of the effects of drug use and how such use tears apart a man's soul, his family structure, and even is capable of turning him into a man that is unrecognizable in behavior, attitude, and demeanor. The underlying concept that Ray seems to continuously point towards is what makes a man? Is Ed still Ed after his experience with Cortisone? He looks like the previous Ed, and he responds when he is called by his name. However, no one seems to recognize him, his family does not recognize this deranged perfectionist father and husband with these newly developed ideas; even the milkman does not view Ed as he did before. Ed may be literally kept alive due to the Cortisone, but the drug drenched all of his personality and left everyone only with a shadow of the previous schoolteacher.

Bigger than Life was largely attacked and criticized after its release due to its skeptical view of the American family structure-not unsurprising, considering that it was released in the mid 50's. Ray's film may lack the jolting electricity it had for viewers at the time of its release, as such adverse effects of drugs have become better known and treated, but its unique and considerate approach still makes it one of the most , deftly executed, underappreciated, and singular cinematic works ever.

This 50s film on American suburbia now released on DVD sure packs a punch into the solar plexus of conformity. Mason,producing as well,gives one of his best performances in a Jeckyll and Hyde role.Ray was one of the great American directors.His use of colour was symbolical and expressive.His use of wide-screen Cinemascope opens up architectural space inside a suburban home.The use of light and shadow and camera angle to bring out extremes of emotion and a character's inner life and phantasy.Rush is superb as the supportive but anxious wife,Lou.Olse is excellent as Ritchie the son.And Mattau comes across well as an eccentric but affable colleague and family friend.He is concerned about his colleague's changes in mood and supports the wife and son.

The subject is,superficially,the use/abuse of a 'wonder drug',Cortisone,to heal Mason's physical disease.If he doesn't take this drug he is expected to live for only another year,and in crippling pain.However Mason takes more than he should,pretends to be a doctor,writing out his own prescriptions.This unlocks a pandora's box of psychosis and patriarchy:"God was wrong",he declares, Abraham should have sacrificed Isaac. He is about to sacrifice his son with scissors after shutting his wife away in a cupboard. He is the template for any dictator, now his inner-Nietzsche has been liberated.I loved everything about this long lost masterpiece.Mason is unforgettable and brings the best of his acting skills to the part.One for the collectors

In BIGGER THAN LIFE, director Nicholas Ray and producer/star James Mason explored the dark side of suburban life. James Mason delivers one of his most accomplished and subversive performances in this sadly-neglected 1956 movie gem, the story of a man pushed to the brink of madness thanks to his abuse of a 'miracle drug'.

Mild-mannered schoolteacher Ed Avery (James Mason) works hard to provide for his wife Lou (Barbara Rush) and young son Richie (Christopher Olsen), secretly working after-hours as a taxi switchboard operator. When Ed is struck down by a debilitating and potentially fatal illness, doctors prescribe wonder drug Cortisone, and it seems to do the trick. Ed feels more confident than he has in years, and loves to spoil the family with expensive trips to the department store. But Ed's dependence takes a darker turn when he begins taking the pills in larger quantities. Lou and Richie can only stand by helplessly as Ed angrily lashes out, hurling abuse and insults at his wife and son. The mood swings only get worse as the weeks wear on, to the moment when Ed finally cracks completely...

I won't try to spoil any major plot points. BIGGER THAN LIFE will surprise and shock you with it's hard-hitting subject matter, and the frank way it's depicted was I'm sure the main reason why the movie flopped in 1956. It's well and truly the flipside of "Father Knows Best". Today the movie still rings true because so many families are dealing with similar issues on a daily basis. James Mason and Barbara Rush are completely mesmerising to watch here. Child actors from the 1950's are normally very mannered and "trained" on screen, but young Christopher Olsen is heartbreaking as the tortured Richie; his performance absolutely rings true. Walter Matthau, Kipp Hamilton and Roland Winters are also very fine.

I hope that Fox realises what a fantastic movie this actually was, and releases a full Special Edition sometime in the future. In the meantime, the only way you can get this masterpiece on DVD is to order it from the UK or Australia.

Once again, the Criterion Collection retains it's prestigious status in delivering quality films to people who truly appreciate the art of cinema, or in this case, cinemascope. I am happy to see this film receive the royal treatment and hold a nice warm place in this collection.

Nicholas Ray's Bigger Than Life cordially invites us to the nostalgic and conformist suburban life of the 1950's where milk men gleefully prance into your kitchen to deliver milk, obedient sons watch cowboys and indian television shows, stunningly beautiful and elegant wives are eager to please, and husbands happily work and take pride in their careers. Meet the Avery family.

Ed Avery (James Mason) fits this description of an ideal husband during this time period quite nicely; he is hardworking, gregarious in both his professions as a school teacher and, as a part time cab-driver, he is also responsible and very handsome. The condition of Ed's poor health is exposed immediately when we watch him uncomfortably and strenuously clench his pocket watch before teaching. Despite his on going pain, Ed continues to cope with it and does not let family, work or friends interfere. Unfortunately, the symptoms persist and grow with intensity to such an unprecedented level that he suffers his first blackout in his room. His wife, Lou, (Barbara Rush) rushes to his aid after hearing the alarming sound of Ed's body pummel to the floor. As a result, Ed is taken to the hospital by a fellow friend and co-worker, Wally (Walter Matthau).

Initially, Ed's condition is an enigma of all sorts until a team of specialized doctors diagnose him with a rare blood vessel disorder that has a poor prognosis; however, there is a chance of hope when a fairly new "miracle" drug is offered to Ed. It is called Cortisone. His subscribed dosage is to take 1 tablet every 6 hours. Ed is left little choice as he is told his condition will worsen and subsequently kill him in less than a year if he does not take the cortisone. Ed agrees half-heartedly. Within a couple of days of taking the medication, we see a completely revived and revamped Ed; he is more energetic, enthusiastic and a little spontaneous too at sometimes. Ed's pain-free life is just grand until he starts to disobey the prescribed dosage by taking 2-3 tablets at a time. Ed's addiction to the drug causes him to emit some rather alarming and erratic behavior. His altered behavior can be seen as comical, bizarre, unsettling, and just downright psychotic at some points. Ed's addiction destroys everything in his path; moreover, his family, friends and co-workers are all affected to some degree, especially the parents at PTO meeting (excellent scene). Ed's family observe his behavior in sheer horror but passively accept it because they love him and do not want him to die. After all, to them, Ed's bizarre behavior is just a symptom of the medication. The nuclear Avery family is mentally exhausted by Ed's addiction; emotions run high in feelings of frustration, sadness, confusion, depression and anger. We watch a loving and devoted family react and reflect upon this new crisis as so many other families do in America.

The acting performances in this film are nothing short of excellent. James Mason, Barbara Rush and their son are all convincing and authentic as the classic nuclear family of the 1950's. Walther Matthau's small role is also noteworthy as well. The bigger picture, or the real dilemma in this film is not how the family copes with a loved ones addiction but for how long will they cope with it. Watching Ed's addiction spin out of control makes us ponder the real disturbing question that is so prevalent towards the end of the film: Is a loved ones complete and sudden transformation into a monster worth living to the family or is he/she better off dead ?

In regards to the quality of the film presented courtesy of the Criterion Collection, I don't think we will ever receive a better presentation than this. This is another flawless picture that impressed me from start to finish; vibrant pastel colors will leap off your screen to perfection; interior and exterior shots will show incredible depth without losing the authentic look and feel of a 1950's film. A very light and uniform grain will please and leave very much to be desired here. Skin tones are pleasant to look at for the most part although some scenes expose a touch of artificial tampering in respect to lighting. All in all, this is the last thing you should be worrying about because the array of stylish dresses, professional wardrobes, and casual clothing are enough to fully compensate; moreover, fabric detail is fine and very sharp. The sound, which is presented in a uncompressed full monaural soundtrack is also very serviceable; pops, hisses, crackles are non existent; dialogue is crisp and very articulate.

In conclusion, another beautiful and valuable piece of artwork is added to the Criterion Collection. A must buy.

An astonishing piece of work and one of the seminal films of the 1950s, Nicholas Ray's view of an archetypal suburban family, seemingly perfect on the surface, that briskly deteriorates when the father (James Mason) has a severe reaction to a new drug (Cortisone) that manifests itself in severe mood swings and delusions of superiority and a Messiah complex that threatens the safety of his wife (Barbara Rush) and son (Christopher Olsen). It's a disturbing film on many levels and so dark that it's no surprise that it was a commercial failure when first released. Mason is excellent, balancing the complex psychosis without going over the top. In the best performance of her career, the underrated Barbara Rush has the more difficult "wife" role and young Christopher Olsen (squeezing in this solid performance in between equally solid work for Hitchcock and Sirk) avoids the trap that mars so many child performances in 50s cinema. Ray, along with his cinematographer Joseph MacDonald (THE SAND PEBBLES), make expert use of the CinemaScope frame and David Raksin provides a strong underscore. Co-starring Kipp Hamilton and Walter Matthau in one of his early film roles. Highly recommended.

The Criterion DVD is a handsome anamorphic wide screen (2.35) transfer.

This was the 1950's American Beauty. Need I say more? The "Father Knows Best" / "Leave it to Beaver" 1950's family is broken down by drug addiction...having grown up watching Leave it to Beaver reruns (amongst other things), the contrast was truly effective. Not a movie for the feint of heart.

Coming out only a year after its infinitely more famous predecessor, "Bigger Than Life" is the film that truly blistered the veneer of 1950s domestic bliss -- unsparingly exposing the demons that lurk beneath "the good life". It's nominally about prescription drug abuse, but it's really about emotional abuse and the disintegration of a family. I love "Rebel Without a Cause", but it only touches on issues that are ripped wide open here.

James Mason gives the performance of his career as a high school teacher who finds himself at the mercy of the new miracle drug Cortisone. Once he begins dosage, we slowly watch his personality change, from overbearing euphoria, to manic depression, paranoia, and then ultimately dementia and psychosis. The title refers to him eventually perceiving himself as bigger than life itself, becoming truly delusional and dangerous.

But as I mentioned, this is a powerful film that touches on a lot more subjects than simply drug abuse. If you grew up with any parental issues in your life, as many of us have, this will be a difficult but cathartic experience. Nicholas Ray, in my mind, is now undoubtedly the greatest American director who was working in the 1950s. This might be the very best film of that decade.

As for the Criterion disc, it looks fabulous. However, it also contains a 1970s sit-down interview with Mr. Ray which might be conducted by the most obnoxious, self-absorbed critic imaginable. Proceed at your own risk. Fortunately, the commentary track is the very opposite -- recorded by a highly knowledgeable but unpretentious British "film scholar". Also, I think the graphic design and type treatment of the packaging is ridiculously overdone; a gigantic "Bigger" and "Life" mixed with a retro Duncan Hines "than" sandwiched between. Just let the film speak for itself.