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Wayne plays an antediluvian tough guy whose shtick is wearing thin, which is totally where Wayne’s career was at this point – My Blog

This bitter revisionist Western examines how town newbie and aspiring lawyer Ranse Stoddard (James Stewart) wrongly received credit for the murder of marauding criminal Liberty Valance (Lee Marvin), who was actually shot by rough-around-the-edges cowboy, Tom Doniphon (John Wayne). Stoddard goes on to have a fruitful political career (he is a senator when the movie begins, 25 years after the infamous shooting), while Doniphon, who did the dirty work, remains stuck in this shitty old town called Shinbone.

The oft-quoted line from “The Man Who Shot Liberty Valance” is “When the legend becomes fact, print the legend,” though it’s almost always quoted for all the wrong reasons because the movie itself goes to great length to present the actual facts and subtly damn anybody who prefers the legend. Critic J. Hoberman said in his 2003 historical whirlwind, “The Dream Life: Movies, Media, And The Mythology Of The Sixties,” that “The Man Who Shot Liberty Valance” is a movie based upon “the astounding statement that American history was founded on a necessary lie.” You could go as far as to suggest its plot—which weighs the “official” version of a shooting up against what really happened—predicts the speculation surrounding the JFK assassination, a little over a year away. Something was in the air in the early ’60s and credit 68-year-old cowboy picture mythmaker John Ford for capturing some of that zeitgeist when he totally didn’t have to do such a thing.
Ford’s lack of sentimentality for the west is clear right from the start. As Sen. Stoddard, who is back in Shinbone to attend the funeral of Doniphon, gazes at his frenemy’s coffin, the undertaker whines, “the county’s gonna bury him you know, gosh, I ain’t gonna make a nickel out of it,” while an obnoxious newspaperman hounds the senator and former Shinbone resident for a quote. There’s no “good ol’ days” attitude here, just impolite people trying to make a buck and get over. And soon we’ll realize Stoddard’s opportunistic streak too, having built his political career on his role in supposedly shifting Shinbone’s values, namely by way of killing Liberty Valance.
See, 25 years earlier, Stoddard, then new to Shinbone, was robbed and whipped by Valance upon arrival, and that convinced him that this place had to change. So he confronted the locals, all corrupt or afraid for their lives (“What kind of a community have I come to?” he asks, like any well-meaning member of the clueless upperclass), and proceeded to teach Shinbone how to read and how democracy works and, through that, “civilized” the town a little bit. Though that only really happens once Liberty Valance is taken care of for good, which is something Stoddard thinks is the job of the law, and rough-and-tumble townie cowboy Doniphon thinks is the responsibility of whoever can pop the damn fool, mostly because the law here, Marshal Link Appleyard (the hilariously ineffectual Andy Devine, who looks like he sat in a pie the whole movie), prefers to stay out of it all.

Movie stars John Wayne and James Stewart have their personae used against them here. Wayne plays an antediluvian tough guy whose shtick is wearing thin, which is totally where Wayne’s career was at this point. And the beloved James Stewart gets reconfigured into a slightly slimy “nice guy” (shades of the Kennedys and the Kennedy clones we’re still dealing with, such as Martin O’Malley). His character, a more-educated outsider who thinks he has all the right ideas about change but doesn’t want to get his hands dirty and can’t when he finally tries, is—in City Paper contributor D. Watkins’ colloquial sense, at least—a gentrifier. And the whole movie plays out on Hollywood sets that approximate the West. Lacking the director’s signature outdoor vistas and shot in a black and white that’s more muted silver and grey, it’s like Ford decided the West doesn’t deserve to look gorgeous anymore.
Every western is about the inherent contradictions of democracy, though Ford makes that explicit with folksy scenes celebrating voting and freedom of the press, along with special attention paid to the people that are left out: Love interest Hallie (Vera Miles) tells meat-head Doniphon at one point “you don’t own me” and eventually marries Stoddard, a fate we’re not supposed to entirely think is that much better though it is more stable; Doniphon’s black farmhand friend Pompey (Woody Strode) is portrayed as part of the community, though Ford also goes out of his way to make it clear he’s not allowed to participate in any of the town’s democratic proceedings.
American democracy in “The Man Who Shot Liberty Valance” is in its infancy and ruled by hicks, hucksters, and high-falutin’ idealists. It the rare presentation that actually rings true, mostly because John Ford’s mournful, pessimistic classic acknowledges the central role spin plays in our country’s come-up and doesn’t forget the people “progress” plows right over.

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James Caan shares a memorable collaboration with John Wayne on the set of El Dorado. – My Blog

In 1997, James Caan joined The Late Show with David Letterman to starred on John Wayne after they alongside one another on the hit movie El Dorado.While Wayne portrayed the noble elder gunfighter Cole Thorton, Caan plays his loyal friend, Mississippi. Furthermore, the movie was directed by esteemed producer Howard Hawks.

James Caan notes that the first big-name he worked with in Hollywood was John Wayne. Wayne was 33 years older than Caan and already had boomed success in the industry, so naturally, James Caan admired the Duke.“He was great because he could intimidate you,” explains Caan. “He’d stay on you forever, and you’d just crumble. I mean, he’d just try you.”However, on the set of El Dorado, James Caan recalls getting directions from Howard Hawks, also known as Coach.

“So this one night I remember I was between he and Mitchum and Howard Hawks was about 72 at the time, and we’re outside in this old Tucson. This big old western town and Hawks comes up and says, ‘now look, Kid, when you say that line, here’s what’s going to happen. Duke, you go down the middle of the road right down the center because we are going to surround this bar. Mitchum, you go around that way, and Kid, you go around.’ I said, ‘alright, Coach.’ because that’s what we called him, Coach.’

“He was coach,” notes Letterman. “John Wayne was Duke, and you’re the Kid.” After Hawk gave the instructions, he began walking back to the cameras. James Caan, who does a perfect John Wayne impression, reflected on when Wayne tried to offer the then-youngster a few tips.“So now he has to walk back up 50 yards back to the camera. There’s all kinds of extras, and he’s walking back, and the dude looks at me and goes, ‘now look, Kid.’ He says, ‘when you say that there line, I want you to turn around and give me that look you give me.’

“Give Me That Look That You Give Me.”The men begin to laugh hysterically because Jame Caan has no idea what John Wayne is talking about. Regardless, Caan still gave it a try.“I have no idea what he’s talking about. But the truth is that Mitchum explains me that I was laughing at him all the time. Every time he talked because you had to. How can you take him seriously? That ‘why did you do it’ look. So he said, ‘give me that look that you give me.’ I said, ‘alright. Alright Duke.’

At this point, it isn’t Wayne who is mad about Cann’s performance. It is Hawks. However, the Duke still offered his advice. James Caan must.“He gets behind the camera everything starts going, and they go ‘ACTION!’ and I send my one line and I take a step, and I turn around. Coach goes ‘CUT’. Comes running up, and he goes, ‘look, when you take the step. Don’t take the step. I want you to say the line and go. Just go!’ He starts to walk back to the camera, and Wayne goes, ‘now look, Kid. Don’t take a whole step, take a half a step and then turn around and give me that look you give me.’

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John Wayne’s words to his daughter before taking his last breath . – My Blog

John Wayne was in around 170 movies during his long career in the acting world. It’s hard to determine exactly how many because he had starred in so many early on in his career that was considered more obscure.

By the time he was done acting, fans heard him deliver hundreds of thousands of lines to the cameraWhile his acting career was the life he projected, Wayne also had a life outside of the set. He was married three times and divorced twice. In total, John Wayne had seven children during his life. Wayne will always be remembered as the epitome of the Western genre. The tough, macho man behind countless iconic films. He was in movies like “True Grit,” “The Shootist,” “The Cowboys,” and “El Dorado.”

John Wayne’s Last Words : When he was lying in his death bed, however, he wasn’t talking about the Old West or old-fashioned violence. Instead, family was his main concern. According to a Neatorama post from actor, comedian, and voiceover artist Eddie Deezen, Wayne spent his last days in a hospital bed in-and-out of consciousness. He passed away on June 11, 1979, surrounded by many family members.

His daughter, Aissa Wayne (born March 31, 1956) was at his bedside. She held his hand and asked if he knew who she was. He responded with his very last words ever, “Of course I know who you are. You’re my girl. I love you.”

Wayne passed away from stomach cancer. He had been suffering from poor health for several years at this point. Deezen described Wayne on the set of his last movie, “The Shootist” by saying he was often irritable and missed days on set due to poor health. He even had an oxygen tank on set.

Beyond the stomach cancer, John Wayne also had heart issues. He had a long life of smoking, drinking, and a questionable diet. He actually had a pig valve put into his heart. His last appearance would be at the 1979 Academy Awards where he was notably thinner and very sick. He even had a wetsuit on underneath his outfit to make him look bigger.

According to Mental Floss his grave in Corona del Mar, Newport Beach reads, “Tomorrow is the most important thing in life. Comes into us at midnight very clean. It’s perfect when it arrives and it puts itself in our hands. It hopes we’ve learned something from yesterday.”

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How does John Wayne comment and evaluate the person and film of Julie Andrews? – My Blog

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.

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