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Why John Wayne Made Rio Bravo As A Response To High Noon – My Blog

Here’s why John Wayne made his 1959 Western Rio Bravo as a response to High Noon. From his screen breakthrough with 1939’s Stagecoach to his final role as a terminally-ill gunfighter in 1976’s The Shootist, Wayne’s screen persona is inexorably tied to Westerns. He starred in some of the most famous examples of the genre, including The Searchers and The Man Who Shot Liberty Valance.Another classic of his is Rio Bravo – which later became an unofficial trilogy. This sees Wayne’s sheriff Chance tasked with holding on to a prisoner while he and his motley team of men are besieged by hired guns. The film often features on lists of the greatest Westerns of all time, and is a favorite of both Quentin Tarantino and John Carpenter, with the latter’s Assault On Precinct 13 being heavily inspired by it. For those paying attention to Rio Bravo’s story, they’ll spot many parallels with another famous Western: 1952’s High Noon.This Fred Zimmerman-helmed revisionist Western cast Gary Cooper as Marshal Will Kane, who is set to retire with his new Quaker wife Amy (Grace Kelly) when he learns an outlaw he put away is coming back to town. Despite repeatedly trying to enlist the help of the townsfolk, they shun Cooper’s – who is heavily referenced in Landscapers – Kane and he’s left alone to face a gang of killers. In contrast to other Westerns of the era, High Noon is a stripped-back thriller that takes place in real-time and isn’t afraid to portray the fear and disillusionment of its protagonist. The film was also a bitter comment on the Hollywood blacklisting of the era – which earned it Wayne’s wrath for several reasons.Wayne Felt High Noon Was “Un-American”

Gary Cooper dressed as a cowboy in High Noon
During the time High Noon was produced, the House Committee of Un-American Activities – which investigated allegations of alleged communist activity in the U.S. – had taken a particular interest in Hollywood and the messaging placed in movies. The careers of many filmmakers were heavily impacted or outright destroyed during this era of the Cold War because if they were called before the committee and refused to “name names” of those with suspected communist ties, they were effectively blacklisted. Leading this charge within the industry was the Motion Picture Alliance for the Preservation of American Ideals (AKA the MPA), which featured mostly conservative members who wished to defend the business from those with communist or fascist sympathies.The MPA counted Wayne, Clark Gable, Ronald Reagan, John Ford and even Gary Cooper among its ranks. Wayne himself served as President of the MPA for four years and rejected the lead in High Noon because of its political subtext. In addition to Wayne (who appeared in 80 Westerns throughout his career) finding the material “Un-American” – being particularly offended that Kane would run around begging for help while the townsfolk also refused to come to his aid – he was upset by the last scene of the Marshal throwing away his badge when the showdown was done. The movie’s screenwriter Carl Foreman had also been a member of the Communist Party USA for several years and later declined to provide names to the HUAC when called as a witness.This led to his blacklisting from the industry and a drastic downplaying of his role in the production. Wayne would later take pride in his part in this, stating in his 1971 Playboy interview he didn’t regret having “… helped run Foreman out of the country.” Despite his hatred of High Noon, he still accepted an Oscar on close friend Cooper’s behalf for the film, when the latter was unable to attend the ceremony. Wayne – who was nicknamed “Duke” – and director Howard Hawks later reteamed to make Rio Bravo, which saw the former’s tough sheriff never asking for help or doubting his duty. Rio Bravo also had a more optimistic view of the Old West, as plenty of people come to Chance’s aid regardless. Both High Noon and Rio Bravo are classics in their own right, even if their views of America are coming from opposite viewpoints.

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John Wayne doesn’t want to be an actor and likes a director . – My Blog

He became one of Hollywood’s biggest stars, but John Wayne once saw acting as just ‘a brief detour’. His real dream was to become a film director.Cinema’s most iconic cowboy could have spent his days behind the camera had he not inadvertently stepped in front of one on a John Ford set, allow the director to see his potential.

The disclosure is in a memoir he was working on that lay undiscovered among family papers. It said Wayne, who ԁıеԁ in 1979, was working at 20th Century Fox in the 1920s simply to pay the bills.It added: ‘I had no thoughts of becoming an actor. Acting was a kind of apprenticeship toward becoming a director. It was also a source of petty cash…

‘I was ԁеаԁ-set on becoming a director.Elsewhere, he adds: ‘If need be, I would take a brief detour into acting or whatever else was necessary to accomplish my goal.’The memoir was found by Michael Goldman in inquire his book, John Wayne: The Genuine Article, published this month. Even Wayne’s family did not know of its existence in their archives.

Its 72 typed pages paint a portrait of an ordinary man who became the Oscar-winning star of True Grit and The Searchers, a larger-than-life icon nicknamed the Duke.Wayne was working on it shortly before his ԁеаtһ in 1979, having repeatedly rejected requests for an autobiography.He wrote about the 1920s, when he headed for Twentieth Century Fox’s studio and found menial jobs in props and stunt-work, learning his for horse-riding, roping, ɡսոѕ and fighting.

he memory of being desperate for money never left him and in the memoir he writes: ‘The big Depression was still two years away, but my one personal depression was staring at me from the bottom of my empty soup bowl.’I needed a job .’He describes working as an extra – kicked off John Ford’s set for inadvertently stepping in front of a camera – and, like some star-struck teenager, was overwhelmed by the excitement of seeing his own movie heroes.On encountering Tom Mix, a silent Western star, Wayne writes of trying ‘to figure out how to make the best impression possible on the greatest cowboy star in the world’.
He records Mix ignoring him on his attempt to ingratiate himself.Mr Goldman notes the irony of Wayne idolising Mix: ‘The man who would become “the most iconic cinematic cowboy in history” was racking himself over how to make an impression on “the most Cinematic cowboy in history”.’The biographer says of Wayne’s ‘brief detour’ in front of the camera: ‘It was a detour that lasted until his ԁеаtһ.’Wayne would ultimately direct just four films, including The Alamo and The Green Berets , “passion projects” for him. But directing was not what he became known for.Wayne does not elaborate in the manuscript on why he never made directing a priority in subsequent years.

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Secrets John Wayne Revealed to Ron Howard About Filmmaking . – My Blog

Although they were celebrities for different reasons, Ron Howard worked with John Wayne on one of The Duke’s late-period movies. Howard said Wayne gave him some interesting advice. In addition, Howard revealed what made Wayne a little different from other actors.

As an actor, Howard is most known for his appearing in the sitcoms The Andy Griffith Show and Happy Days as well as George Lucas’ American Graffiti. However, he also appeared in Wayne’s final Western, The Shootist. The film also included James Stewart, Lauren Bacall, and John Carridine. With that cast, the film was almost like a roll call of Old Hollywood actors. Howard’s appearance in the film almost feels like a passing of the torch from one generation to the next.

In an interview with Men’s Journal, Sean Woods asked Howard if working with Wayne and Stewart taught him anything about manhood. “John Wayne used a phrase, which he later attributed to [film director] John Ford, for scenes that were going to be difficult: ‘This is a job of work,’ he’d say,” Howard recalled. “If there was a common thread with these folks – Wayne, Jimmy Stewart, Glenn Ford – it was the work ethic. It was still driving them. To cheat the project was an insult. To cheat the audience was damnable.”

What Ron Howard said John Wayne, Bette Davis, and Jimmy Stewart had in common : In a separate interview with the HuffPost, Howard also praised Wayne’s work ethic. “I always admired him as a movie star, but I thought of him as a total naturalist,” Howard said. “Even those pauses were probably him forgetting his line and then remembering it again, because, man, he’s The Duke.

But he’s working on this scene and he’s like, ‘Let me try this again.’ And he put the little hitch in and he’d find the Wayne rhythm, and you’d realize that it changed the performance each and every time. I’ve worked with Bette Davis, John Wayne, Jimmy Stewart, Henry Fonda. Here’s the thing they all have in common: They all, even in their 70s, worked a little harder than everyone else.”

How critics and audiences responded to ‘The Shootist’ : Howard obviously admired Wayne’s methods as an actor. This raises an interesting question: Did the public embrace The Shootist? According to Box Office Mojo, the film earned over $8 million. That’s not a huge haul for a film from 1976. However, the film is widely regarded as a classic among 1970s Westerns.

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How did Paul Koslo ever have a tense encounter with star John Wayne ? – My Blog

In 1975, the Canadian actor starring The Duke in Rooster Cogburn. At the time, Koslo was only 19 and still relatively green in the industry. So working with the Hollywood legend was a bit stressful.

During an installment of World on Westerns, Paul Koslo shared his experiences with John Wayne, including a time where he nearly stepped on Wayne’s lines.As the story goes, Wayne had a short 15 line monologue. And once he was finished, Koslo was supposed to respond. And as they were filming, Wayne said his part. But when it was Koslo’s turn, he froze.“The director said ‘Paul, why didn’t you say your lines?’” the actor remembered.

“And I said, ‘well, because I didn’t wanna cut him off because he hadn’t said all of his lines yet.’” Hearing the conversation, John Wayne jumped in saying, “who’s gonna? Nobody’s gonna cut me off. I can say whatever I want, you got it, kid?”Of course, the interaction made Koslo nervous, and the only response he could muster was, “okay, sir.”However, the actor admitted that the Western icon wasn’t as intimidating as the story made him sound.

Koslo shared that as long as his co-stars worked hard, Wayne was always their biggest supporter.“My impression of him was that if you did your stuff, and you were right on top of it, he was your best buddy. But if you were like a slacker, or you weren’t prepared, he could get on your case.”During the AWOW interview, Paul Koslo also shared some details behind the age-old feud between John Wayne and Katharine Hepburn.

“I mean, Kate and him, they were always like this,” said Koslo, while punching his fists together.According to Koslo, politics were behind the fight. Hepburn was a democrat and Wayne was a republican.“It seemed like… in a fun way. I don’t know if it was for real,” he admitted. “You know, she would be sitting on the hood of a truck going like a hundred feet down to the set where they were shooting, and how Wallis was having heart attacks. She was really a daredevil, and she was full of piss and vinegar.”

The actor also noted that he didn’t get to spend much time with the actress, so he couldn’t get a proper gauge on the so-called feud. Almost all his time was spent with The Duke.The only interaction Koslo had with Hepburn was while shooting an intense scene where they were “moving this nitroglycerin to another location because we were going to rob the U.S. Treasury with it, and [John Wayne’s] about to ambush us.”And that happened right before Paul Koslo nearly stepped on John Wayne’s lines.

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