Movies We Like
Bigger Than Life
Nicolas Ray knew something about men in crisis. He had a gift for getting inside the heads of men who were alienated from themselves as well as from those around them. Bigger Than Life ranks as probably his darkest examination into the mind of a man falling apart. To add subversion to the proceeding pathos the main character’s drug-fueled anger and paranoia are best understood as violent psychological manifestations of the quintisentially American obsessions with success, strength, and a patriarchal family structure in which both mother and child are rendered subservient to the whims of an angry, domineering, and vengeful father. In other words, Ray is taking on the 1950s themselves and painting a portrait of a deranged society confined by roles that leave no room for humanity.
James Mason plays a gently effete school teacher named Ed Avery who has a wife named Lou (played by Barbara Rush) and an adorable son named Richie (Christopher Olsen). After finding out that he is severely ill Ed agrees to go on an experimental regimen of cortisone. He gets better from using the drug but then becomes addicted to it and, at the same time, unhinged in his obsession with controlling his family. His fatherly tenderness is replaced by hysterical demands on his wife and child who grow increasingly alienated from him. His new behavior is like a satire of a mean 1950s dad-type. He is particularly hard on his son as he lays expectations for “success” on him that border on the sadistic.
Walter Matthau plays a family friend who steps in at the last minute when Ed, completely delusional and scary at this point, tries to do the unthinkable and kill his own child. As he reads from the Bible with a knife in his hand, deranged circus music plays in the background. It moves into horror movie territory until Ray pulls back with a pseudo happy ending.
Bigger Than Life isn’t one of Ray’s most famous films but it fits thematically with them (Rebel Without a Cause, In a Lonely Place, On Dangerous Ground) and certainly represents the farthest that he went with the theme of male angst and the rifts of alienation that can occur within a family. It’s a dark film but one as emblematic of the 1950s as any film I can think of.