John Wayne and Julie Andrews were both huge icons in the 1960s, however, Wayne was not a fan of one of Andrews’ movies. He felt one of her films “fell on its face” because of one of her ideas. Here’s what he thought of her as a performer.

During the late 1960s, Hollywood underwent a lot of changes. For example, the industry started embracing graphic violence and sexuality –or, at least, what constituted graphic violence and sexuality at the time. Explicit movies like Psycho, Bonnie and Clyde, and The Graduate that never could have been made in a more restrictive era were finding success.Wayne was not a fan of the increased sexuality in American films. “All the real motion picture people have always made family pictures,” he told Roger Ebert in 1969.
“But the downbeats and the so-called intelligentsia got in when the government stupidly split up the production companies and the theaters. The old giants–Mayer, Thalberg, even Harry Cohn, despite the fact that personally I couldn’t stand him – were good for this industry. Now the goddamned stock manipulators have taken over. They don’t know a goddamned thing about making movies. “They make something dirty, and it makes money, and they say, ‘Jesus, let’s make one a little dirtier, maybe it’ll make more money,’” Wayne opined. “And now even the bankers are getting their noses into it.”

John Wayne felt Julie Andrews was trying to be like another star
Wayne felt Andrews had succumbed to this trend. “Take that girl, Julie Andrews, a refreshing, openhearted girl, a wonderful performer,” he said. “Her stint was Mary Poppins and The Sound of Music. But she wanted to be a Theda Bara. And they went along with her, and the picture fell on its face.”

Which of Julie Andrews’ movies was he talking about?
For context, Bara was a silent movie actor who was an early Hollywood sex symbol who often played femmes fatale. In the interview, Wayne never specifies which movie he was discussing. Between the release of The Sound of Music in 1965 and the time Wayne gave the interview, Andrews starred in five films: Torn Curtain, Hawaii, Think Twentieth, Thoroughly Modern Millie,and Star!. It’s impossible to know for sure which movie Wayne criticized, but it may well have been Thoroughly Modern Millie, whose plot involves sex trafficking.

It’s unclear if Wayne meant the movie he mentioned “fell flat on its face” artistically or commercially. Obviously, whether Thoroughly Modern Millie is a good movie is a matter of taste. However, the movie performed well for the time. According to The Numbers, it earned $34,335,025. In addition, Thoroughly Modern Millie inspired the famous musical of the same name. Regardless of which of her movies he disliked, Wayne still praised Andrews’ talent.

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.

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.