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The Man Who Dared to Fill John Wayne’s Boots – My Blog

The lanky, long-faced Mr. Cord actually bears a closer resemblance to Tom Tyler, who played the Ringo Kid’s gun-slinging nemesis, Luke Plummer, in the John Ford film, than he does to the towering, barrel-chested Wayne. Under Douglas’s direction, Mr. Cord creates a less charismatic but more approachable Ringo.In the original film, Ford introduces Wayne with a highly uncharacteristic visual flourish: the camera darts toward Wayne in a rapid dolly shot, as the actor, standing in front of what appears to be a projected background, twirls his rifle in a grand, theatrical gesture. The shot briefly goes out of focus as Ford’s cinematographer, Bert Glennon, struggles to keep up with the change in scale — an effect that may have been accidental, but which grants Wayne an almost supernatural aura, as his face emerges from the blur to fill the screen in a dominating close-up.This is mythmaking, pure and simple. Douglas, by contrast, discovers Mr. Cord’s Ringo sitting by the side of the road, in a roomy, wide-screen composition that fully integrates the actor with natural environment. In the background, a rushing waterfall imparts some of its strength and wonder to the character, but Douglas soon moves to a higher angle that eliminates the waterfall from the image, and actually seems to diminish Ringo’s stature by looking down on him, hemmed in by a cluster of trees.

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There’s no Homeric apotheosis here, just a frank appraisal of a man who lives within the limits of the natural world. The comparison illuminates the difference between two films and two filmmakers working from what is essentially the same script (although the rewrite, by Joseph Landon, expands some scenes and eliminates others, large passages of Dudley Nichols’s original dialogue are recycled).While Ford was indisputably the greater artist, Douglas has put his finger on one of the weaknesses of “Stagecoach”: Ford’s determination to make a sort of meta-western, a film that deals in archetypes rather than individuals, and epic themes rather than genre conventions. With “Stagecoach,” Ford’s return to the genre after 13 years of more “prestigious” material, the western achieves self-consciousness, an awareness of itself as America’s official foundation myth.
Douglas almost literally brings the material back to earth, shifting the action from the black-and-white, lunar landscape of Monument Valley (“Stagecoach” was the first film that Ford shot among its eerie promontories) to the fecund greenery of a Colorado mountain range. Ford, in Andrew Sarris’s famous phrase, keeps his eye on the horizon line of history; Douglas, whose sensibility is at once more pessimistic and humanistic than Ford’s, concentrates on the immediate problems facing the characters in the foreground.

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Mr. Cord with Ann-Margret, his romantic partner in the film.


Mr. Cord with Ann-Margret, his romantic partner in the film.Credit…Twentieth Century Fox Home Entertainment
Mr. Cord with Ann-Margret, his romantic partner in the film.
The 1966 “Stagecoach” is an intriguing anticipation of the disaster-film cycle that would begin in earnest with “Airport” in 1970. An all-star cast (for 1966, at least — Ann-Margret, Red Buttons, Mike Connors, Bing Crosby, Robert Cummings, Van Heflin, Slim Pickens, Stefanie Powers) faces an apocalyptic threat (provided in “Stagecoach” by some uncharacterized Indians, the weakest element in both movies) while trapped within a restricted environment, much like the casts of “The Poseidon Adventure” and “The Towering Inferno.”But what at first seems a threat becomes a sort of therapy, as some characters reveal their hidden weaknesses (Cummings’s smiling, sanctimonious banker has a satchel full of stolen cash), others discover their hidden strengths (Crosby’s alcoholic doctor sobers up long enough to deliver a baby), while the frayed social network pulls more tightly together.The 1970s disaster films would add a theological dimension (remember the inverted Christmas tree in “The Poseidon Adventure”?) that remains quite foreign to Douglas’s pragmatic personality. There is nothing metaphorical or metaphysical about the violence in “Stagecoach,” which retains the shocking, graphic immediacy that Douglas pioneered in films like “Kiss Tomorrow Goodbye” (1950) and “Them!” (1954).In Ford’s film, the great set piece is the Indian attack on the stagecoach as it crosses an open stretch of desert. Douglas, no doubt wary of trying to surpass one of the most famous sequences in film history, almost throws away the scene. He covers Ford’s epic vistas with a single helicopter shot and quickly moves the chase into a wooded area, where it ends, not with the magnificent sense of release and deliverance of Ford’s film, but in a squalid shootout.Instead, Douglas concentrates on Ringo’s last-reel showdown with Luke Plummer, a scene played so perfunctorily by Ford that it seems like an anticlimax (though a brilliant one, I think). For Douglas, the darkened western town, with its deserted streets and little pools of light, becomes an urban jungle right out of one of his early films noirs, and Ringo’s confrontation with a vigorously characterized, actively sadistic Plummer (Keenan Wynn) is brutal and personal.When John Wayne’s Ringo rides off with his newfound love (Claire Trevor, as the “saloon girl” with a heart of gold), Ford seems to imagine them as a new Adam and Eve, whose children will populate an American Eden of freedom and democracy. Alex Cord’s Ringo enjoys a more prosaic fate, but perhaps a less burdensome one: when he rides away with his saloon girl (a young and impossibly lush Ann-Margret), we see a couple of kids escaping an adult world that has become too corrupt and confining for them.“Stagecoach” did not make Cord a star, but it didn’t destroy him: he moved into Euro-westerns and television (including a long run as a star of the CBS series “Airwolf”) and today raises horses and writes novels. That seems to me a happy ending, too. (Twilight Time, available exclusively through screenarchives.com, $19.95)

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Bruce Dern paid homage to Western past as ” Man Who Killed John Wayne ” – My Blog

Over the years, Bruce Dern has made quite a career in film. From acting to producing and just about every facet of the industry. One of his most notable roles, earlier in his career was when he killed John Wayne. That film, 1972’s The Cowboy, came up in his Goliath series.Dern’s series, Goliath features Billy Bob Thornton and others in a legal drama, unlike many others.


Throughout the series, the production crew has tried their best to incorporate some of the film legend’s old material into the show. A man who has worked with everyone from Alfred Hitchcock to John Wayne, Quentin Tarantino and more, has a lot to reflect on.

However, it was how they paid homage to that old John Wayne film that really surprised Dern. During the fourth and final season, Billy McBride has a dream in which Dern appears. Riding a horse and wearing a very familiar outfit.“But what they did that I didn’t know, they went back to Western Custom and got the 1972 exact costume I wore in The Cowboys when I killed John Wayne,” Bruce Dern said.

“They did stuff like that. I was totally surprised. I said, ‘S***, I’ve seen this stuff before.’ And they said, ‘Yeah, you wore it in The Cowboys when you killed John Wayne.’ Oh, my God.’” He continued, “Each day they’d come up with little things like that particularly for me. I really appreciated that. And that is Larry Trilling and big-time Billy Bob Thronton. He’s all about what was there before. I mean, we’re not inventing the wheel, so to speak. We’re trying to find new ways to communicate things. And I enjoyed the opportunity to do that.”Bruce Dern Made a Lot of Enemies Killing John WayneWhile the action was just part of a movie, The Cowboy had quite an influence on how many Western fans viewed Bruce Dern. Taking out The Duke is no small task. It comes with a lot of repercussions. Especially the way his character did it, shooting Wayne in the back after losing a fistfight…in front of a bunch of kids.

While the dramatics of the scene was a perfect example of those old classic Westerns, Dern never really shook the reputation with a certain generation of fans. However, while working with John Wayne, Dern received direct orders to disrespect Wayne on set.“But right at the start, he says to me, ‘I want you to do us a favor.’ He was including himself, [director] Mark Rydell, and the scriptwriters.” Dern explained that during the pep talk, “He [Wayne] gave me carte blanche to just treat him like a turd.” All so the kids acting on set as the cowboys would be scared of the bad guys.

Bruce Dern got into the role and listened to the orders that Wayne gave him. Now, the movie is a Western classic, and infamous in the minds and hearts of John Wayne fans everywhere.

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John Wayne or Jeff Bridges, who plays the role of Rooster Cogburn well? – My Blog

Two movies made 50 years apart, both based on a novel by the same name. Two different iconic actors took turns playing the rough-and-tumble marshal Rooster Cogburn in their respective versions of “True Grit.” John Wayne played him in the 1969 version, Jeff Bridges in 2010. Both were celebrated critically. Now, Duke’s official Instagram account is comparing the performances to see which one did it better.Of course, the question was posed by the John Wayne account. So it’s safe to say the people who responded in the comments were at least slightly biased toward the 1969 version.


Then again, both Rooster Cogburn actors were nominated for Academy Awards for their performances. So it’s really anybody’s game.“John Wayne & Jeff Bridges were both nominated for Oscars for their performance as Rooster Cogburn. Which version of the movie is your favorite, 1969 or 2010?” the Instagram caption read.

In the world of remakes, few movies do as much justice to their original counterparts as the 2010 version of “True Grit” from the Coen Brothers. There was no consensus among fans whatsoever. But some of the most popular sentiments seemed to be that the 1969 “True Grit” with John Wayne as Cogburn featured the more iconic performance. Though, many fans thought the 2010 movie was closer to the source text than the original.

“I have to fall on the side of the Duke. BUT, that’s the BEST remake of a film, I’ve ever seen! Loved them both,” a fan replied to the Instagram post.“2010 Much richer film and truer to the book’s feel. Wayne was robbed of an Oscar for the Searchers and this was a lifetime achievement award,” another added.Two Versions of ‘True Grit,’ Two Very Different Approaches to Character . One of the biggest complaints John Wayne fans had of Jeff Bridges’ approach to Rooster Cogburn was how disheveled he appeared.

“Jeff Bridges was horrible had marbles in house mouth and portrait Roster as a slob,” another fan replied to the post from John Wayne’s estate.But a different fan pointed out that, indeed, the portrayal of Rooster Cogburn in the novel by Charles Portis was one of a slobbish man.This isn’t to say that the Bridges performance is better for accuracy. It’s just that Henry Hathaway, the director of the 1969 “True Grit,” and the Coen brothers took different approaches to their movies. As a result, the actors contrasted greatly in their portrayals of Rooster Cogburn.

At the end of the day, however, the win may have to go to John Wayne on this one. After all, we’re still waiting on Jeff Bridges to reprise the role in a sequel. Duke did it in the 1975 film “Rooster Cogburn.”

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John Wayne’s ”expensive” sayings made the fans ”nod”’. – My Blog

John Wayne (May 26, 1907 – June 11, 1979) was an American movie Actor, director, and producer, known in movies like Stagecoach, Angel and the Bad Man, Red River, and The Shootist.They say that life is a good teacher and through them who lived this life we can learn a lot, especially from great people like John Wayne a.k.a Duke.Today I am going to share with you Wayne’s 5 rules you should be remembering in your daily life:


1. Money cannot buy happiness but its more comfortable to cry in a Mercedes than on a bicycle.
This is a long debate everywhere, rich people say that “those who say money can buy happiness are the ones who don’t have” and broke people reply that “you don’t know how miserable we are just because we don’t have coins in our pocket”.John Wayne made it clearer that though money cannot buy happiness but when unhappy moments arrive money can make someone comfortable.


2. Forgive your enemy but remember the bastard’s name.
Forgiving your enemy is in your favor, most of the time carrying such burden in your heart is more painful while the bastard doesn’t even know.Just to be careful, put their names somewhere in your mind. Once a soldier always a commando and once enemy, I don’t know.

3. Help someone when they are in trouble and they will remember you when they’re in trouble again.
Do what is right, help people but never expect something in return.According to John Wayne, the only thing you can expect from people is that if you have helped them in the hard times, they will remember you when they’re in trouble again.

4. Many people are alive only because it’s illegal to shoot them.
Everyone has enemies and some people do harm to us to the level we even wish to kill them. Not only our enemies would be killed if to kill was not illegal but also some innocents and powerless people.About this rule, something you have to learn is that we’re surrounded by people that don’t kill us only because it’s illegal.
5. Alcohol does not solve any problems, but then again, neither does milk.
Haha this rule is somehow funny but it is true on the other hand. You will find people telling you stop drinking alot it will solve nothing but at least you’ll have that sedative moment.Alcohol does not solve any problems, but then again, neither does milk.

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