{"id":21227,"date":"2016-04-13T11:11:05","date_gmt":"2016-04-13T15:11:05","guid":{"rendered":"http:\/\/www.artsjournal.com\/herman\/?p=21227"},"modified":"2016-04-14T11:22:05","modified_gmt":"2016-04-14T15:22:05","slug":"a-big-picture-the-big-country","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/herman\/2016\/04\/a-big-picture-the-big-country.html","title":{"rendered":"A Big Picture: ‘The Big Country’"},"content":{"rendered":"

William Wyler’s anti-macho Western “The Big Country,” which is remarkable for its imposing visual beauty and sonorous musical score, makes it to the (relatively) big screen at the New York Historical Society (as in bigger than your flatscreen TV but smaller than the screens it was made for back in 1958).<\/p>\n

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‘The Big Country’ [released October, 1958]<\/p><\/div>\n

<\/a>The movie is also remarkable for a lot more than its lush production — not least the way it debunked the Western clich\u00e9 of score-settling violence. All of this is likely to be discussed by Wyler’s daughter, the documentary film producer Catherine Wyler<\/a>, who will introduce the screening on Friday in conversation with HBO’s Susan Lacy<\/a> (best known for creating the \u201cAmerican Masters\u201d series on PBS). <\/p>\n