"The Big Trees" is one of those entertaining films regularly churned out by major studios in the early to mid-50s which were fun for the whole family and offended no one. Usually directed in efficient, workmanlike fashion (in this case, by Felix Feist) and essentially plot-driven by some sort of conflict that required physical measures to resolve, these programmers moved along with a fast pace and lots of action that left little room for subtleties but usually gave the moviegoing public its bang for the buck.
The conflict here is a stalemate between entrepreneurish lumbermen who want to cut down the giant Redwoods in California's northlands to sell the lumber for huge profits and a Quaker-like religious sect that has already settled on the land and views these big trees as majestic creations of the Almighty that should be left untouched. The former are led by smooth-talking Jim Fallon (Kirk Douglas) who, in trying to take advantage of a recent Act of Congress, oozes his unctuous charm to gain the settlers confidence for a peaceful live-and-let-live coexistence. When the latter continue to defend their big trees - especially Elder Bixley (Charles Meredith) and his daughter Alicia Chadwick (Eve Miller) - he resorts to legal maneuvers which are again stymied. The deadlock is finally breached when rival lumbermen, who have even fewer scruples than Fallon, move in for a piece of the action and violence ensues.
Several commenters on this page have already rightly stated that "The Big Trees" is Kirk Douglas's least favorite of all his films. That's understandable when one considers the many classics and near-classics in his filmography - "The Strange Love of Martha Ivers", "Out of the Past", "Champion", "Detective Story", "Ace in the Hole", "The Bad and the Beautiful", "Lust for Life", "Paths of Glory", "Spartacus", "Lonely are the Brave", and "Seven Days in May" by directors such as Joseph L. Mankiewicz, Billy Wilder, William Wyler, Vincent Minnelli, Stanley Kubrick and John Frankenheimer - it's no wonder that a medium-budgeted actioner about fortune seeking loggers at odds with an environmentally-conscious religious sect should find itself sitting at the back of the class.
And yet I think Kirk has been too hard on this movie. The outdoor locations, filmed near Humbolt County in Northern California are at once awe inspiring and breathtaking, the colour (on good prints) gorgeous, the supporting cast featuring Edgar Buchanan and Patrice Wymore more than adequate, and the action scenes, particularly the runaway train, set the adrenaline rushing.
Best of all is Douglas himself. He has never been more charismatic than he is here. Whereas in other films he brought an unnerving intensity that sometimes bordered on paranoia to his hard-driven complex characters, he is here at once a likeable scoundrel: jovial, charming, gentlemanly yet virile and athletic, performing his own stunts when called upon. A remarkable performance, made more remarkable by the fact that he made this picture for no salary in order to end his contract with Warner Bros. He easily could have sleepwalked through the role but didn't, or at least didn't appear to. A very professional gesture.
What weakens "The Big Trees" is the lack of a strong villain. John Archer (Frenchy) is unable to do much with a part that is badly underwritten. He is neither cunning nor threatening as he inexplicably transmogrifies from Mr. Bland to Mr. Bad and certainly does not deserve the horrific fate that eventually befalls him. Fortunately, Kirk Douglas is there to remind viewers what star power - even in a programmer - is all about.
The conflict here is a stalemate between entrepreneurish lumbermen who want to cut down the giant Redwoods in California's northlands to sell the lumber for huge profits and a Quaker-like religious sect that has already settled on the land and views these big trees as majestic creations of the Almighty that should be left untouched. The former are led by smooth-talking Jim Fallon (Kirk Douglas) who, in trying to take advantage of a recent Act of Congress, oozes his unctuous charm to gain the settlers confidence for a peaceful live-and-let-live coexistence. When the latter continue to defend their big trees - especially Elder Bixley (Charles Meredith) and his daughter Alicia Chadwick (Eve Miller) - he resorts to legal maneuvers which are again stymied. The deadlock is finally breached when rival lumbermen, who have even fewer scruples than Fallon, move in for a piece of the action and violence ensues.
Several commenters on this page have already rightly stated that "The Big Trees" is Kirk Douglas's least favorite of all his films. That's understandable when one considers the many classics and near-classics in his filmography - "The Strange Love of Martha Ivers", "Out of the Past", "Champion", "Detective Story", "Ace in the Hole", "The Bad and the Beautiful", "Lust for Life", "Paths of Glory", "Spartacus", "Lonely are the Brave", and "Seven Days in May" by directors such as Joseph L. Mankiewicz, Billy Wilder, William Wyler, Vincent Minnelli, Stanley Kubrick and John Frankenheimer - it's no wonder that a medium-budgeted actioner about fortune seeking loggers at odds with an environmentally-conscious religious sect should find itself sitting at the back of the class.
And yet I think Kirk has been too hard on this movie. The outdoor locations, filmed near Humbolt County in Northern California are at once awe inspiring and breathtaking, the colour (on good prints) gorgeous, the supporting cast featuring Edgar Buchanan and Patrice Wymore more than adequate, and the action scenes, particularly the runaway train, set the adrenaline rushing.
Best of all is Douglas himself. He has never been more charismatic than he is here. Whereas in other films he brought an unnerving intensity that sometimes bordered on paranoia to his hard-driven complex characters, he is here at once a likeable scoundrel: jovial, charming, gentlemanly yet virile and athletic, performing his own stunts when called upon. A remarkable performance, made more remarkable by the fact that he made this picture for no salary in order to end his contract with Warner Bros. He easily could have sleepwalked through the role but didn't, or at least didn't appear to. A very professional gesture.
What weakens "The Big Trees" is the lack of a strong villain. John Archer (Frenchy) is unable to do much with a part that is badly underwritten. He is neither cunning nor threatening as he inexplicably transmogrifies from Mr. Bland to Mr. Bad and certainly does not deserve the horrific fate that eventually befalls him. Fortunately, Kirk Douglas is there to remind viewers what star power - even in a programmer - is all about.