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Why one POPULAR ACTOR was FIRED from THE SONS OF KATIE ELDER and lost his career as a result! – My Blog

The Sons of Katie Elder(1965), directed by Western veteran Henry Hathaway, and starring John Wayne and Dean Martin, is an entertaining, old-fashioned, atmospheric Western in which 4 brothers take revenge on an evil entrepreneur who killed their father and stole their land.

Most famous in John ‘Duke’ Wayne’s filmography for being the first film he made after licking the ‘Big C’- to which he lost one lung and two ribs- “The Sons of Katie Elder” is a middling traditional Western directed by the ever-dependable Western Veteran Henry Hathaway, who has made better movies with Duke- remember “North to Alaska” and Oscar winning “True Grit”. This sometimes entertaining, sometimes meandering, extremely well shot- by the great cinematographer Lucien Ballard in picturesque Mexican locations- and well acted Western has its moments, but never fulfills the potential that its initial portions promised us. But the film still possess some of Hathaway’s trademarks; like the atmospheric use of locations, sets and animals(read horses), as a well as an affirmation of traditional Western values(good triumphs evil, son(s) avenges parents’ death) avoiding the reflection and self-reflection that was creeping into Westerns of the time, with a solid ensemble cast at the center. Hathaway would take this “avenging the parents’ murder” to its bloody extreme with the very violent Steve McQueen vehicle, “Nevada Smith,” which he would make the very next year. I think that film is far superior than this one, though watching John Wayne in a Western and Steve McQueen in a Western are very different kind of experiences, and each provide their own pleasures. After the more rollicking and rambunctious adventures of ‘North to Alaska“, “The Comancheros” and “McLintock!”, “Katie Elder” finds Duke in a more pensive and serious mode (a continuation of his character in “In Harm’s Way“), though the film itself becomes too silly and routine to exploit these facets of Duke’s characterization to its advantage. This two hour long film feels rather too long at times, and though they are psychological undercurrents in the film, it’s not something that would tax an average viewer. But still, the film remains more or less an engrossing watch, coasting on Duke’s charisma and a solid supporting cast. This film is about four (estranged)brothers- Duke plays John, the oldest, a gunslinger; Dean Martin is Tom, a gambler wanted for murder; Earl Holliman is Matt. an unsuccessful businessman; and Michael Anderson Jr. plays the youngest brother, Bud, attending college- who reunite in their hometown of Clearwater, Texas, in 1898 (after a long separation) for the funeral of their mother, Katie Elder. Katie, a widow, who died poor, was much loved and respected member of the community. Katie had been living in semi-poverty since the death of her husband Bass Elder several months previously under suspicious circumstances. Her former ranch is now owned by gunsmith & rising entrepreneur, Morgan Hastings (James Gregory), who is outwardly friendly but worried about John Elder’s presence. He has hired gunman Curley (George Kennedy) in case a showdown with John is necessary.

But John and his brothers have lot more on their plate- particularly, coming to terms with their grief and the regret that none of them have lived up to their mother’s high expectations. On top of that, the townspeople are unfriendly to the brothers for neglecting their pioneer mother- who had nothing but good things to say about her sons till the end; the new deputy sheriff Ben Latta (Jeremy Slate) is also very hostile towards them, especially to John and Tom because of their profession. The Elder brothers are surprised when they come to know that their mother owned nothing when she died; that their father gambled away their rich ranch to Hastings. Their surprise turns to suspicion when they come to know that their father was treacherously shot in the back and killed the very night that he lost the ranch. The Elder brothers decides to do some investigation of their own and they march into town, only to realize that the townsfolk are reluctant to talk to them about the whole affair. Sheriff Billy Wilson (Paul Fix) who had already warned John to keep a low profile, also ask them to drop their investigation, but the brothers persist. A visit to Hastings’ ranch bring them face to face with Hastings’ cowardly and nervous son, Dave (Dennis Hopper), who gets into an argument with John; in the course of which they’re confronted by Latta, who tries to arrest the brothers, but is disarmed by Tom. The brothers decide to give themselves up anyway, but the Sheriff let’s them go.

A rancher named Striker agrees to let the brothers drive a herd of horses from his ranch in Pecos to sell to the miners in Colorado, on credit, a deal he started with their mother. While the brothers are out driving the horses, the Sheriff is murdered outside the Elders’ home by Hastings. Sheriff had started getting suspicious of Hastings’ involvement in the death of Bass Elder. So, Hastings had to get rid of him. Hastings also manages to put the blame of Sheriff’s murder on the Elders. The Elders are arrested on their way from Pecos, but the judge, fearing there might be a mob lynching, orders them to be taken to Laredo for safety, shackled in wagons. On the way to Laredo, Hastings’ goons led by Curly ambushes them on a bridge. Though Latta is not in on this conspiracy, many of his deputies are, and they hold Latta at gunpoint while the Elders are fired upon by Curly and his men. The Elders manage to sneak under the bridge, but Curley plants dynamite under the bridge, and in the explosion, Matt is impaled by a splinter of wood and dies. In the shootout that follows, John kills Curley and Bud is seriously injured. John and Tom manages to beat back the ambushers, and then they return to town to take revenge on Hastings. In town, they take refuge in the smithy, and they tell the Judge- who’s also now the acting Sheriff- that they can prove their innocence in the Sheriff’s murder, and they will surrender only to a U.S. Marshall. As they await the Marshall, Tom, in a daring move, kidnaps Dave- who’s in a state of panic. As he leads Dave to the smithy at gunpoint, Hastings shoots Tom in the back, but Tom still manages to make it to the smithy with Dave. Now Hastings, who has followed both of them, shoots and kills Dave before he could spill anything to the judge. But Dave, though mortally wounded, still manages to give testimony against his father- in the crimes of killing Bass Elder and the Sheriff. Now exonerated of all crimes, and having known the truth about his father’s murder, John madly pursues Hastings, and after a fierce gun battle, John ends up blows up Hastings’ gun shop, with Hastings in it. The film ends with an image straight out of a John Ford movie: Katie Elder’s rocking chair- a symbol of homely comfort- swaying to and fro in front of the fireplace.

“The Sons of Katie Elder”, which mixes human drama, action, mystery, comedy and pathos, with Duke essaying the saintly, larger than life role of the eldest brother devoid of any romantic attachments, is the archetypal ‘John Wayne Western’; though strictly second tier. It’s not bad at any point, and even very good in certain portions, but it does not rise to being remarkable. The middle section of the film is unnecessarily dragged out; the best moments in the film happens in the first act and towards the end of the third. The central mystery of the film is pretty non-existent; we are on it right from the beginning, even when the brothers are running around like headless chickens looking for clues; and it also doesn’t help that Morgan Hastings is a cardboard villain doing the most clichéd things a Western-villain does. George Kennedy, who’s in top form as the intimidating Curly, does not get much to do, and is killed off rather unceremoniously in a crossfire. A real pity, because the character has been built up to such heights, starting with the ‘typical’ Western train station sequence- where the brothers await the arrival of John Elder, and instead it’s Curly-dressed in all-black- that arrives- a scene that proved to be a direct inspiration to Sergio Leone while conceiving “Once upon a time in the West(1968)”; even the names of the towns are similar, here “Clearwater”, there “Sweetwater”. Apart from an amusing scene where Duke belts Kennedy with a two-by-four, and a tense standoff between Kennedy and the brothers in a saloon, Kennedy’s presence doesn’t amount to much. There also appears to be lot of inconsistencies regarding plot development: Katie Elder is revered as some sort of Mother Teresa by the townsfolk, yet they’re fully content in letting her die in penury. Neither do the townsfolk help her when her husband is treacherously murdered and when her land is taken away. The question also remains as to why the brothers chose to return only for their mother’s funeral, and not after their father is murdered. Maybe it was meant to protect the saintly aura around Katie Elder; though never visible in the film, it’s her presence that permeates the entire film. Apart from her, the only other female presence in the film is provided by Martha Hyer as Mary Gordon- the girl who was devoted to Katie in her lifetime- and her role doesn’t amount to much in the overall plot of the film.

The most striking moment in the film is the introduction of Duke’s John Elder; this could be Duke’s most iconic introduction scene since John Ford’s “Stagecoach”- that made him a star. It’s Katie’s funeral, and the three brothers (minus John) along with many townsfolk are present in the cemetery. A massive rock formation overshadows the land,, and as the camera slowly pans towards those massive boulders, a small figure. appears in between two giant boulders, as if he was part of them and has been standing there from time immemorial. And when the camera cuts closer, we see the familiar visage of John Wayne dressed in his usual Western costumes and gear as John Elder, solid and still, observing the funeral from high above. This marriage of man and nature, star and landscape is something director Henry Hathaway does so well, and there’s no better star\actor who can embody this moment better than John Wayne. He has been a Western icon for so long, that he assumes the permanence and grandeur of landscape effortlessly, and the moment becomes mythic. Duke was at least 15 years too old for the part of John Elder. If you look at the dates on his father’s tombstone, you can see that he was either 63 or 64 when he died. Duke was 57 when he played this role. He was also 36 years older than Michael Anderson Jr., who played Bud, the youngest of the Elder siblings, making their surname particularly apt for Duke. But one accept these things without any questions in a John Wayne Western. Another thing we notice is that the action scenes, especially the ‘ambush on the bridge’ and the climax, is more brutal than most Duke movies. The action scenes are well handled though, and proved to be one of the major highlights of the film.

Another major highlight of the film is Elmer Bernstein’s superb score. After “The Magnificent Seven”, Bernstein had been the go-to guy for punchy western scores. Bernstein had given a spectacular score for Duke’s “The Comancheros”, and his score here shares The Magnificent Seven’s brassy exuberance and driving, syncopated backing, and is one of Bernstein’s best scores; it works superbly for both the rousing and somber moments. This film also marked a reunion of Duke and Dean Martin after their very popular pairing in Howard Hawks’ “Rio Bravo”. As in that film, Duke’s screen relationship with Dean Martin is easygoing; there is even a reference to “Rio Bravo” at the end, where we find Duke and Martin holed up in a besieged town waiting for the arrival of the U.S. Marshal. A key figure in the creation of the film was the legendary producer, Hal B Wallis. When he was an executive producer at Warner Bros. in 1930s and 40s, he was behind some of the greatest films made at the studio including “Casablanca”. But after some differences of opinion with Jack Warner, he left the studio and joined Paramount Pictures. “The Sons of Katie Elder” was a project that had been bouncing around the studio since 1955 until Wallis took it up. He had planned it to be one of his super productions on the lines of “Gunfight at the OK Corral“, with John Sturges directing and Burt Lancaster starring as John Elder. But that plan came to naught, when Lancaster rejected the film on the grounds that it was a routine western with unsympathetic characters. Dean Martin was always penciled in for the second lead, but everybody from James Stewart to Charlton Heston was considered for the role of John Elder until Duke signed on.

But days before shooting was to start, Duke found out that he had lung cancer. He requested Wallis to recast the picture with Kirk Douglas, in case he did not survive the surgery. But Wallis was adamant that nobody else but Duke would play John Elder. So, while Duke battled cancer, Wallis held firm in his determination to make The Sons of Katie Elder with Duke and nobody else; this is despite the pressure from the studio and his production-partner to proceed with Robert Mitchum or William Holden. For someone regarded as an old-Hollywood cold-blooded movie-mogul, Wallis demonstrated a remarkable degree of personal integrity and loyalty to a star with whom had no prior professional or personal relationship. Once Duke survived the surgery, and was declared fit to work, he cut shot his recuperation period and immediately went before cameras for the film. But Duke was not in peak form, he was overweight; the added pounds and the overall weakness, as well as constantly being out of breath at such high altitude, made it a very difficult shoot for him. On top of that, Henry Hathaway- whom Duke referred to as “the meanest son of a bitch in the business” didn’t show him any leniency; He worked him like a dog, forcing him to do most of his stunts himself- but somehow he got through the tough shoot. He knew his future in Hollywood depended on his completing this film, and though he hated Hathaway for what he put him through, he was ultimately grateful to the director, because it proved that He was still the same old “John Wayne.” Katie Elder was the first of Duke’s movies filmed in what would become his favorite western setting, a series of sets and locations in Durango, Mexico; and most of his film from hereon will be shot there.

The Sons of Katie Elder opened July 1, 1965, to good reviews and great business. The film placed number 15 on that year’s top-grossing films. It was also in the top 10 of the most successful Westerns of the 60s. Much of the success was mainly due to the publicity generated from Duke licking Cancer. In the beginning, Duke’s cancer was kept a secret from the public, but after successfully beating the disease, Duke decided to make it public; so as to provide hope for millions of people afflicted by the dreaded illness. The Mexican sets of “Katie Elder” had been swarming with press throughout the shoot; everybody eager to cover Duke’s first film shoot post his health scare- and Duke did not disappoint them; doing most of the stunts, like jumping into the river and getting dragged through the freezing waters, all by himself and right in front of the visiting press; Though Duke caught pneumonia on account of these actions, these press stories of Duke’s undiminished ability and courage ensured that the film received great publicity. Duke loved making movies, and was willing to go to any extend to make sure that he continued making them; and making commercially successful films was one way of ensuring it. The reaction of the public to Duke successfully surviving the illness was overwhelmingly positive. As he expected, it helped reduce the fear around the dreaded disease; Duke has proved that cancer could be cured, and one could actively get back to their former life. Earlier, when film stars had cancer or any such dreadful disease, the studios would go to any lengths to hush it up, but Duke triumphing cancer turned out be the most heroic thing he has ever done, whether in real-life or reel-life; and going public with it only strengthened the perception that Duke, in real-life, was as courageous, all-conquering, indestructible, and larger-than-life as he appeared on screen.

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John Wayne Wanted to Make His Home Alarm a Hilarious Tape Recording of His Voice: ‘I See You, You Son of a B****’

John Wayne Wanted to Make His Home Alarm a Hilarious Tape Recording of His Voice: ‘I See You, You Son of a B****’

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The Man, the Problem, and His Manliest Movies – My Blog

The problematic John Wayne became a fierce force in American cinema as the designated leading man in a series of big budget films. In an era full of trauma and sadness, Wayne as an American symbol, represents a significant contribution to the world during the time of uncertainty and panic.

As his career elevated in the midst of WWII, he rose through the ranks as the single most popular actor in Hollywood’s history. The reason that Wayne had become increasingly famous was associated with his no-nonsense characters that male viewers related to and women gravitated towards prior to the cultural changes of the 1960s. He brought to light this persona of elevated masculinity that was culturally striking to watch. From Academy Awards to a rich career that very few have been able to achieve, the praise associated with his on-screen portrayals will live on through generations.
In a successful career spanning over 50 years and 169 movies, Wayne has had his highs, in addition to his fair share of criticism, which is ultimately impossible to ignore. During a 1971 Playboy Magazine interview, Wayne made comments speaking negatively against the African-American community and making a series of homophobic slurs, while directly addressing his belief in white supremacy. Some have marked this up to be a time sensitive issue, with societal problems and norms being completely different from what it is now (or is it?). The truth is, this stuff was said, and it hasn’t gone over well since the interview resurfaced, with John Wayne’s legacy denounced by many.
Taking a moment to separate the man from his artistry is quite a difficult task, and directly addressing the controversies of his past comments creates difficult decisions that can often lead to either supporting art and ignoring prejudice, or completely erasing history. What people can all agree on is that his work ultimately changed the scope of Hollywood cinema, and how masculinity and machismo are portrayed through verbal and physical modes of storytelling. Thus, instead of calling these films his ‘best performances,’ perhaps we should consider these movies to have the most macho roles from John Wayne, a problematic actor who presents culture with a fascinating way to dissect American masculinity.

6 The Barbarian and the Geisha

The Barbarian and the Geisha is based on the true story of Townsend Harris, an American diplomat who was sent to the country of Japan in order to serve as a U.S. consul member. Wayne plays Harris as he is met by residents in the small village of Shimoda who rejects his diplomatic status, prompting a cultural split in Japan’s mistrust in the influence of the west. Through all the social and political clashes, Harris meets a 17-year-old geisha by the name of Okichi, falling in love with her while she aides him in softening the division. Wayne was 51 at the time.
5 Tycoon

Hired by a South American tycoon Frederick Alexander (Cedric Hardwicke) to construct a tunnel through the Andes Mountains, American engineer Johnny Munroe (John Wayne) falls in love with Alexander’s daughter, Maura (Laraine Day). As Munroe faces challenges in making progress in the job he was assigned to complete, he also faces opposition in convincing the overprotective father of Maura (and his boss) that he is a worthy suitor for the man’s (20 years younger) daughter. Tycoon, like The Barbarian and the Geisha, feeds the male ego and fantasy of viewers, presenting Wayne (and the all-American male) as a sex symbol for much younger women.
4 Island in the Sky

Island in the Sky incorporates pieces of experiences from pilot Ernest Gann (later related in his 1961 autobiographical book Fate is the Hunter) emphasizing his flying career. In this World War II movie, Gann and the pilots he traveled with search for a lost pilot of the team in northern Canada. In the film, Capt. Dooley (John Wayne) has to crash-land his plane in the icy landscape of Canada. While setting out to fly supplies in England during World War II, Dooley and his crew fight to survive in the unfamiliar territory. Though it’s an ensemble film, Wayne continues his white-knight heroic approach to narrative form.
3 The Three Musketeers

The Three Musketeers, a modernized version of the classic tale, finds American fighter pilot Lt. Tom Wayne (John Wayne) traveling to visit his romantic love interest, Elaine Corday (Ruth Hall). Along the way, he gets involved in the war taking place in the Sahara Desert (between the French Legion and a group of Arabic arms smugglers) to rescue a group of legionnaires who were besieged by the opposition fighters. Tom’s new friends recruit him in order to help them efficiently identify the mole secretly working for the Arabic group, so long as they can survive the desert in an almost ‘characters against nature’ way. Again, the film glorifies and romanticizes the heroics of American militarism and the white-knight trope.
2 Allegheny Uprising

Jim Smith (John Wayne) leads a militant group throughout colonial America, setting out to discover who is supplying the area of Native American tribes with various key weapons. Smith suspects Ralph Callendar (Brian Donlevy) to be the traitor among the group, but there has not yet been any proof to support this theory. He strives to pinpoint the corruption among him and his team, as the British commander Capt. Swanson (George Sanders) disregards his concerns. Allegheny Uprising taps into the American fantasy and paranoia of fighting the British and colonizing Natives, and Wayne fits in perfectly.
1 Rio Lobo

The American Western Rio Lobo is set in a post-Civil War environment, and was the last film directed by the legendary Howard Hawks, concluding his American trilogy of Westerns preceded by Rio Bravo and El Dorado, which all uses the West to explore identity. As Cord McNally (John Wayne), a local Union leader, protects an incoming gold shipment, his fellow troops are suddenly attacked by an influx of Confederate forces. In this encounter, McNally looses the gold he was supposed to protect as well as his friend and officer who was killed in the raid. As McNally travels to the town of Rio Lobo, he learns the Confederate forces had direct help from the inside of his team. In his visit, McNally sets out to learn the identity of the traitors. Released in 1970, Wayne was playing to a wholly different American culture that had passed him by, and the film was a box office failure. He would make his Playboy comments the next year.

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‘He knew he wasn’t going to be around when I was older’ – My Blog

Ethan Wayne, John Wayne’s youngest son, talks about what it was like growing up with his famous father and how he’s keeping his legacy alive today.

Ethan Wayne said a day at his friend’s house made him realize his father was different.
The now-56-year-old is the youngest son of late Hollywood legend John Wayne and Peruvian actress Pilar Pallete, his third and last wife. He’s currently the president of John Wayne Enterprises and director of the John Wayne Cancer Foundation. This year, he helped release a bourbon based on the patriarch’s own recipe.
“I can remember going to a friend’s house and his mom said, ‘Hey Brian, go get the mail,’” recalled Wayne. “I went out and there were three envelopes. I remember going, ‘That’s all the mail you got? That’s weird.’ The US postal service would drag those canvas bags with lots of mail to my house. It was strange.”

Gettin' back in the lane with John Wayne's youngest son | by Jeremy Roberts  | Medium

Despite Wayne having an iconic movie star for a father, he described his childhood as normal — one that involved living in then-small town Newport Beach, Calif. with other families in the same neighborhood, surrounded by oranges and strawberry farms.
There were no security or bodyguards. John answered his own door and telephone. He was an early riser who exercised alongside his son and studied his scripts before heading to work. He often spent his free time on his boat, admiring the great sea he loved. He would catch his own fish and cook it on the beach, as well as interact with locals.
John was 56 when Ethan was born — and he made sure his son never forgot to do chores around the house.
“I can’t pick up a broom to this day without thinking about him coming out and saying, ‘That’s not how you sweep, this is how you sweep!’” chuckled Wayne. “And it was with this big push broom. And he wasn’t very mechanical. He was great with his gun, he was great on a horse and he handled boats really well. But if a car got a flat tire, he’d just leave it. And I was very mechanical as a young boy for some reason. I really enjoyed taking stuff apart and putting it back together. He really didn’t get it. He didn’t like motorcycles, and I did.”
Wayne said that despite his father’s high-profile career, John, who was aware he might be gone by the time his son was a young man, was determined to be a hands-on parent. Wayne described growing up on film sets and learning about the hard work it took to bring Hollywood to life.
“He took with me on location,” Wayne explained. “I’d be homeschooled down on location in Mexico because he knew he wasn’t going to be around for me when I was older, and that he would probably lose me while I was young, teenage man. So he took me with him when I was little. And one of my jobs was to load the car with all the personal items that he wanted with him when he would make a film somewhere remote. Or if he went on his boat, the Wild Goose.
Gettin' back in the lane with John Wayne's youngest son | by Jeremy Roberts  | Medium
“He would take his own bourbon, and that bourbon was the heaviest thing that I would carry. Everyone wanted to have a drink with John Wayne. I would also carry his packs of candy, special food items, shoes, gloves, jackets. Definitely bags of hats.”
In his lifetime, John or “The Duke,” as he was called by fans, made more than 200 films in over 50 years. According to The New York Times, by the early 1960s, 161 of his films had grossed $350 million, and when he died in 1979 he had been paid as much as $666,000 to make a movie.
As an avid outdoorsman, both in front and behind the camera, he is still celebrated as one of the greatest figures of the Western genre.
“I was 10 when he was 66 years old,” said Wayne. “[And] he’s on a horse, he’s running at full speed across open country, with a herd of horses running with him… he was a bold, outgoing individual who was full of life, constantly moving forward… And nobody sits on a horse like John Wayne does.”
John Wayne's son recalls growing up with 'The Duke': 'He knew he wasn't  going to be around when I was older' | Fox News
Wayne wasn’t around when the Iowa native, a former football star in high school who worked as a truck driver, fruit picker, soda jerk and ice hauler, first embarked on his career as an actor. However, Wayne said the rugged persona he embodied on screen was very much the real deal.
“I read stories [of] when he was first starting out and how he was very uncomfortable and felt awkward,” said Wayne. “He didn’t like the way he moved, so he talked to John Ford and met Wyatt Earp… He started taking pieces of these guys and putting them together into a character that became John Wayne, who was definitely part of my father. There was also fantasy. He was a heck of a gunman and a horseman, but he also certainly knew the craft of film and storytelling. We were never in a gunfight.”
John passed away at age 72 from cancer. Wayne, who was 17 at the time of his father’s death, said he drove John to UCLA Medical Center when he wasn’t feeling well. John never came out alive.
Before his death, John stressed to his family that the doctors attempting to find a cure for cancer should never be forgotten. He left behind seven children from his marriages and more than 15 grandchildren.

Wayne credited stuntman Gary McLarty, a friend of his father’s, for taking him under his wing and helping him cope with his grief.
“He would take me on a motorcycle ride or racing sometimes,” said Wayne. “He was [later] the stunt coordinator for ‘The Blues Brothers.’ And for some reason, he hired me. And it was in a time when I’d missed the last part of my junior year with my dad. When my father was involved in my life, I was good at school and things went well. But afterward, I wasn’t very focused on school… [Gary] gave me a little direction that I didn’t have. I’m eternally grateful to him. It probably kept me from making some mistakes.”
John recently lassoed in headlines for a completely different reason. In 2016, The Guardian reported California lawmakers rejected a proposal to create John Wayne Day to mark his birthday after several legislators described statements he made about racial minorities.
Wayne said he was also aware of negative statements made against his father due to him being politically conservative. He insisted John’s beliefs have been misunderstood over the years
“He wanted to work with people who earned their place,” Wayne explained. “He didn’t think anybody should get a job because he was a man, because she was a woman, because they were gay, because they were straight, because they were Chinese, African-American or Mexican. He thought you should get a job because you were the right person to do that job. Because you had skill and talent and you would show up and get the job done. He didn’t care what you were.
“Somebody, a Latina representative up in Sacramento, shot down a bill for John Wayne Day because he was racist. [But] he was married to three Latin women. It’s just crazy how things get blown out of proportion because he was really an open, caring, loyal, supportive man.”
Wayne hopes his father will be remembered for what he was — an artist.
“People look at him and they think one thing or another, but he was out there representing real people,” said Wayne. “Whether they were guys who came out here and lived in the West or went to war. He played those characters. He represented them. And they liked him. They still do.”

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