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John Wayne

Patricia Neal ‘hated’ her Breakfast at Tiffany’s co-star and had to break up set fistfight

In the end, George Peppard was cast as Paul even though director Blake Edwards didn’t want him, being overruled by producers. Quoted in Sam Wasson’s Fifth Avenue, 5AM: Audrey Hepburn, Breakfast at Tiffany’s and the Dawn of the Modern Woman, Neal didn’t hold back on her experience of working with the leading man. Initially, the actress said she had initially enjoyed working with him but after a near-violent moment on set her mind was entirely changed.

The 2E star said: “I had done scenes with George at the Actors Studio. I had a very good time, and I adored him, but years later, when I got Breakfast at Tiffany’s, something happened.” This something led her to “hating” him.

Neal continued: “I was thrilled when I heard we were going to be in it together, but it wasn’t long until I saw that since I last saw him he had grown so cold and conceited. On one occasion, Blake and George almost had a fistfight. We were trying to block a scene and George wanted to change everything that Blake had planned, and George got so terrible that Blake almost hit him. I got them to stop, but I think George got his way. I hated him from that moment on.”
Breakfast at Tiffany’s producer Richard Shepherd was surprised to find that even Hepburn, who got on with most people, found Peppard difficult to work with.

Shepherd said: “I must say there wasn’t a human being that Audrey Hepburn didn’t have a kind word for except George Peppard. She didn’t like him at all.  She thought he was pompous.  When she wasn’t around, he referred to her as ‘The Happy Nun.’”
The film was nominated for five Academy Awards and won two in Best Music Score of a Dramatic or Comedy Picture and Best Original Song for Moon River. Despite its critical and commercial success, Breakfast at Tiffany’s has been criticised for Mickey Rooney’s yellow-face portrayal of Mr Yunioshi in the decades since.
Rooney, who later said he wouldn’t have played the part if he knew it would offend people, wore a prosthetic mouthpiece and makeup to play a caricature of a Japanese man.
Producer Richard Shepherd said at the time of production he’d wanted a Japanese actor to play the role, but that it was Edwards’ decision to have Rooney.
In retrospect, the director said: “Looking back, I wish I had never done it … and I would give anything to be able to recast it, but it’s there, and onward and upward.”

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John Wayne

REVIEW: THE MAN WHO SHOT LIBERTY VALANCE

If I’m being honest, when choosing to settle down with a good old western, I usually choose to pick the more stylised, epic works of Sergio Leone or more grittier fare like Sam Peckinpah’s open exit wound of a movie, The Wild Bunch. However, it would be hideously remiss of me to ignore the more stately classics that forgore the blood and dust in favour of honour and dignity; furthermore it would also mean losing out on a sizable chunk of the filmography of the legendary John Ford and that of the Duke himself, the one and only John Wayne.Arguably one the best of their collaborations (if not one of the best westerns of its generation) is The Man Who Shot Liberty Valance, a movie that fuses old school, six shooter heroics with a genuine attempt to bring civility to a lawless land.

A movie of staggering nobility, you wouldn’t be a million miles off suggesting that The Man Who Shot Liberty Valance is the Western equivalent of Casablanca. After all, both ultimately hinge on a cynical man who knows how to follow the rules of a lawless society who gives up his meager dreams in order to help a rival in love for a cause bigger than himself, but Ford weaves politics into the story to suggest that the act of bringing down a chronic ass-hat like Valance is imperative for cilivised life to get its first toe hold in a town like Shinbone – something that ironically is the very opposite of what the upright Stoddard is trying to achieve.Both men, Stoddard and Doniphon, are forced to face ideals directly opposed to their cherished world views while Valance (played by the typically angry brows of a swaggering Lee Marvin) is a symbol of a time that has to pass if the world is to move on – even if it takes one last cold blooded act of the old world to galvanise it into being.Wayne is almost a supporting player as he stares bemused at the idealistic Stoddard’s refusal to give up in the face of Valance’s petty tyranny, but he’s a perfect counterpoint to the passionate decency that James Stewart always seemed to project so well and it is he who is actually the gatekeeper who allows al.ost everything to occur even if it means that his way of life is slowly rendered obsolete by it. It’s a stubbornly subtle performance lurking under Wayne’s usual trademark bluster but it’s incredibly affecting as he plows the moral road in secret in order for the greater good to flourish.

However, despite giving us a western that contains precious little of the kind of action you’d usually expect to see from a movie with “shot” in the title, the movie ends up being riveting stuff and Ford loads the movie with eccentric townsfolk who are every bit as three dimentional as the leads. Be it Peabody, the drunkenly verbose newspaper reporter or Link, the cowardly marshal whose belly makes him look like a giant capital D, everyone has a part to play and even the smallest of roles has significance (hello Lee Van Cleef as one of Valance’s henchmen).

In fact, if you need even further proof as to how well The Man Who Shot Liberty Valance hits you right in the feels with its deadshot aim, it’s all there in the opening scene. As everyone sits by Tom’s coffin, we have no idea how any of them got here or even who the hell Tom actually is and yet you’re utterly gutted even before the film has truly started. If that wasn’t enough, John Ford ballsily tells us that no matter what we’re about to see, we’ll already know that both Stoddard and Doniphon will not only both survive but Hallie ends up with the younger man – and yet even though we know everyone’s eventual destination, we are still utterly hooked on their journey; now if that isn’t the mark of true storytelling genius, I don’t know what is….

At one point someone utters the legendary phrase, “when the legend becomes fact, print the legend”, which are arguably the most relevant words I’ve ever heard spoken in a Western (well, that and everytime Wayne calls someone “Pilgrim”), and that’s exactly what The Man Who Shot Liberty Valance is – the Old West forcibly dragging itself into the modern world off the back of it’s own legend – but when it comes to sheer, cinematic decency that’ll rock you to your emotional core, Ford’s classic can easily match Casablanca and To Kill A Mockingbird to the draw…

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John Wayne

John Wayne and Robert Duvall Nearly Came to Blows Filming a Classic Western

Robert Duvall currently has 3 films in production as he turns 91 this week. The actor once fired up fellow western actor John Wayne so much that the two nearly got in a fistfight on set.

The film “True Grit”, which was based on a 1968 Charles Portis’ novel, earned John Wayne an Oscar in 1969. As soon as Wayne read the book, he started working towards playing the lead role of US Marshall Rooster Cogburn. The legendary actor also tried to get his daughter Aissa the role of Maggie. Unfortunately, Wayne failed, despite his iconic status. However, due to Wayne’s popularity, Elvis dropped out of the secondary role in the film when he was refused billing above John Wayne. His replacement? A 38-year-old Robert Duvall.

At the time, Robert Duvall was well established as a solid character actor. Duvall would later become a regular leading man and headliner, perhaps with “True Grit” to thank for helping get him there. Duvall was also known for having quite the temper. In Duvall’s early acting days, he roomed with fellow young actors Dustin Hoffman and Gene Hackman. The three bonded over their love for acting and practical jokes, but Hackman and Duvall regularly got into fights due to their respective poor tempers.

Robert Duvall Had An Interesting Approach To His AngerHoffman once described how Duvall would use his anger to fuel his performances. Duvall would pick out someone in the audience, and imag ine that they hated him. Then, he would yell “F* you!” to them as he left stage, post curtain call.

Years later in 2003, while Duvall was filming “Secondhand Lions”, his costar Michael Caine described Duvall’s temper as “quite violent”. Apparently, Duvall’s fiery temper didn’t fade with age.

Duvall has also described himself as a method actor. With method acting, the actor is meant to fully immerse themselves into the role. Duvall’s approach to acting was certainly an intense one. If anything got in the way of Duvall’s go to methods, he would become intensely irritated, which caused problems on the set of “True Grit”. Duvall ultimately ended up in loud confrontations with co-star John Wayne and the films’ director, Henry Hathaway when things weren’t going his way.

Being a director, Hathway also had a loud personality and wanted things done according to his methods. This didn’t sit well with Duvall, who’s quoted as saying of Hathaway, “He’d say, ‘When I say, ‘Action!’ tense up, Goddam you.” It’s hard to work under that as a young actor.”

John Wayne Finally Got Fed UpThis film meant a lot to John Wayne, who had been vying for the role since he laid eyes on the book. Robert Duvall constantly causing problems and disruption on set eventually got to Wayne. He verbally fought with Duvall numerous times on set, but eventually threatened to punch his fellow actor if he didn’t stop fighting with the film’s director on set.

It’s said that no punches were thrown– perhaps Wayne’s passion for the project really did save the peace.

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John Wayne

Why John Wayne Disliked His Hit 1969 Film True Grit And The Troubles That Lay Within It S Production

John Wayne had to play the pot-bellied, one-eyed Westerner before the Academy would consider him to be an actor worthy of an Oscar. In his career spanning over 50 years, Wayne delivered massive hits and was a megastar. However, True Grit allowed him to pour his 40 years of acting experience into a character that was as memorable as Wayne made it.

True Grit, adapted from a 1968 novel of the same, starred John Wayne as U.S. Marshal Rooster Cogburn. The film is narrated by Mattie Ross, played by Kim Darby, who hires Rooster to avenge the murder of her father Tom Chaney. Alongside starring in the film as La Boeuf, the famous country singer Glen Campbell also created and sang the theme song of the film and won a Golden Globe and Academy nomination for Best Original Song.

True Grit is an iconic piece of cinema that has inspired sequels, remakes, and small-screen adaptations. Though this film is one of the most loved and watched films of all time, there are many interesting facts about True Grit that fans are unaware of.

True Grit Won John His First and Only Oscar

John Wayne was a Western megastar and maintained his position as one of the top box office draws for over three decades. Wayne made his big debut with Raoul Walsh’s The Big Trail and delivered several massive hits, including Stagecoach, Red River, The Searchers, The Man Shot Liberty Valance, The Quiet Man, The Longest Day and The Shootist. It is, thus, surprising that Wayne’s first and only Academy Award came 39 years after his first film. He was nominated under the Best Actor category for his film Sands of Iwo Jima in 1949. However, that year, William Crawford took home the award for his role in All the King’s Men.

In 1969, Wayne competed against Pete O’Toole who was nominated for Goodbye Mr Chips and Richard Burton, who was nominated for his portrayal of Henry VIII in Anne of the Thousand Days. Wayne took him the award that night, his only Oscar from his almost 50-year-long career.

Wayne Actually Hated True Grit

The story goes that after Wayne read the novel on which True Grit was based, he decided to lobby for the role of U.S. Marshall Rooster Cogburn and that is how he got the part. More importantly, the film won Wayne his first Oscar. So, it is only logical to assume that Wayne would have loved the film. However, in reality, Wayne hated True Grit.

If IMDb is to be believed, Wayne was unsatisfied with the way the film was made and thus, in all the interviews that he did as part of the promotional tour, he maintained that he liked his other roles and films better than True Grit. In fact,in one of the interviews, he stated that he considered his role in Stagecoach to be his best performance of all time. Who knows what must have conspired between Hathway and Wayne to elicit such a response from the actor, but Wayne must have certainly regretted saying these words after winning the Oscar that year.

Wayne Wanted His Daughter to Play Mattie Ross

Wayne did not only lobby for the role of Marshall Rooster, but he also pushed for the role of Mattie Ross to be given to his daughter Aissa Wayne. Aissa was 14 at the time but had never acted professionally. Thus, Hathway decided to audition other actresses for the role. Among others, he auditioned Karen Carpenter, Sondra Locke, Sally Field, Tuesday Weld and Mia Farrow and decided to cast Farrow in the movie. As luck would have it, Farrow backed out from the film at the last minute and the role went to Kim Darby.

Darby was a popular TV actress at the time who had appeared in shows like Gunsmoke, The Eleventh Hour and Star Trek. After the success of True Grit, she did deliver some successful films but she eventually became addicted to amphetamine, which ruined her career. However, Derby eventually managed to get a hold on her life and she now makes occasional appearances on television and films.

Elvis Presley Was Chosen to Play LaBeouf

Elvis was a prolific artist who conquered many mediums. Elvis did a total of 31 films during his career and True Grit could have made that number, 32. Elvis was chosen to play the role of Texas Ranger LaBoeuf. Everything was clear and Elvis had almost agreed to begin to shooting when his manager Tom Parker demanded that Presley be paid a hefty price for the role. However, since Wayne was already a huge star at the time and came with an equally heavy price tag, the producers couldn’t hire both Elvis and Wayne. Since Wayne was already playing the lead character, the producers decided to replace Elvis with Country star Glen Campbell. After the film released, reviewers criticized Campbell for his limited acting skills. However, Campbell bought something to the film that added to its iconic status — the film’s title song for which he won an Academy Award nomination. He also won the Golden Globe nomination for Most Promising Newcomer for True Grit.

Wayne Was Against Wearing the Eye Patch

Marshal Rooster will always be remembered for his gruff disposition and his one-eye black patch. However, Wayne was against wearing the patch for the simple reason that in the novel on which the film is based, Rooster did not wear a patch even though he was blind in one eye. What ensued were debates and discussions. However, in the end, Wayne decided to listen to his director and agreed to wear the patch, which eventually became synonymous with the character of Rooster. It is, thus, that Wayne wore the patch in the sequel as well.

Though he may not have been happy about wearing the eye patch, he did bring it to good use. In November 1975, Wayne donated the patch along with a letter to the Southen California Symphony Society to be auctioned to raised funds. In 2012, the patch and the letter went up for auction at a starting bidding price of $35,000.

There Was a Marked Difference Between the Real-Life and On-Screen Age of Various CharactersWithin the film industry, many actors play characters that are older or younger than their real-life self. However, in most cases, the age difference is such that it can be easily made up for with makeup and character portrayal.

This wasn’t the case with True Grit. As you already know by now, the film was based on the novel of the same name written by Charles Portis. Based on the book, Rooster was no more than 40 and Darby was a 14-year-old girl at the time the story takes place. However, in real life, there was a marked difference between the age of actors and their onscreen avatars. For instance, Wayne was 61 when he played the 40-something Marshall Rooster and Darby was 21 and appeared as the 14-year-old Mattie Ross in the film.

A Stuntman Performed Most of Wayne’s Stunts

True Grit will certainly also be remembered for its iconic scenes. In one such scene, at the very beginning of the film, Wayne is seen confronting a bunch of bad guys in an isolated meadow. The scene brings you to the edge of the seat — as you bite your nails in anticipation, Wayne puts the horse reins in his mouth and takes out two guns in his two hands and chases the goons throw the meadow. The scene is as invigorating as it is stylish and sets the tone for the whole movie.

Of course, Wayne was the face of Rooster. However, not many people know that Wayne did not do most of the stunts. Chasing outlaws on horseback isn’t something easy-to-do for a 61-year-old star. Most of the scenes were performed by Jim Burk, a stunt double. Jim trained horses for Westerns and cavalry films and has also worked on other films like Chinatown and Star Trek II: The Wrath of Khan.

True Grit is an iconic film that played a crucial role in the revival of the Western genre. It was also the perfect goodbye from Wayne to a genre that had given him so much. He played the pot-bellied, one-eye Marshal Rooster with great ease, pouring his forty years of acting experience into the role. In the rare moments in which the gunslinger lets his guard down and showcases his emotional side, it becomes so easy to identify him as a simple man who has loved and lost and who, thus, is bent on living his last days alone. It is this depth to the character that made Marshal Rooster Cogburn so lovable.

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