PT Boats Take a Bow in this Hollywood Film Starring John Wayne – My Blog
Robert Montgomery (left) brought real-life experience to his role. John Wayne received second billing as Rusty. (United Archives BMBH/Alamy)Director John Ford went on inactive status from the navy in 1944 to film an adaptation of They Were Expendable, William Lindsay White’s book about PT boats during the opening months of the war in the Philippines. The movie starred Robert Montgomery, who had joined the navy after Pearl Harbor and, like the character he plays, commanded a PT boat. John Wayne, who had not served in the war, was billed second. Back on a film set, Ford remained the same cantankerous needler he had been before the war and he zeroed in on “Duke” Wayne, one of his favorite targets. In Print the Legend, his Ford biography, author Scott Eyman relates how Montgomery watched the director rake Wayne over the coals. “Can’t you manage a salute that at least looks like you’ve been in the service?” Ford asked in front of the cast and crew. Eyman related what happened next. “Finally, Robert Montgomery walked over, placed his hands on both sides of the director’s chair and said, ‘Don’t ever talk to Duke like that. You ought to be ashamed.’ The set fell silent. A break was ordered, and Ford ended up in tears.”Despite the turmoil on set, They Were Expendable ended up being one of Ford’s finest films, a melancholic love letter to PT boats and to the navy in general.When the film opens in Manila on the eve of war in 1941, Lieutenant John “Brick” Brickley (Montgomery) wants to demonstrate the potential of the PT boats he commands. His admiral is dismissive (“In wartime, I prefer something more substantial,” he says). So is his second in command, Lt. (j.g.) Rusty Ryan (Wayne). Rusty wants a transfer to destroyers.Then the war comes.In one early scene, Rusty receives a finger wound that becomes infected and Brick orders him to the hospital on Corregidor. There he strikes up a brief romance with nurse Sandy Davyss (Donna Reed). Like everything else in the movie, the romance is realistic and understated. Rusty invites Sandy for dinner at the hut serving as the officers’ club, where sailors hidden in the crawl space beneath the building serenade them. It’s a touching scene, but Ford understands that romance is impossible under these conditions. The last time the two speak is over a field telephone as Rusty prepares to depart on a mission and Sandy remains on Corregidor as the Japanese move closer. The conversation gets cut off abruptly when higher-ups commandeer the line. Rusty—and the audience—never learn Sandy’s fate.
(LMPC via Getty Images)Ford uses his own naval experience to create a sense of authenticity. There’s no place for cinematic heroics. Earlier in the film, as Brick chafes at the limited role his boats have been given, the admiral compares the situation to a baseball game. If the manager tells you to hit a sacrifice bunt, that’s what you do. “You and I are professionals,” he says. At the end, when Rusty decides to give up his seat on the last plane out to Australia so he can join the guerrilla fight against the Japanese, Brick calmly reminds him that they have their orders. Rusty sits back down.Brick’s PT boats do see combat and those who like watching these speedy plywood craft in action will enjoy those sequences. They also get one vital mission when they spirit “the General” out of the war zone so he can continue the fight from Australia. Although the General remains nameless, audiences certainly recognized him as Douglas MacArthur. In real life, John D. Bulkeley, the Medal of Honor recipient on whom Montgomery’s character is based, did transport MacArthur and his family south to safety on Mindanao, where B-17s then flew them to Australia.One of the movie’s greatest strengths is its eye for detail—when Brickley grabs a pair of scissors to estimate the distance on map; the terrified faces of wounded soldiers on Corregidor as Japanese bombs fall; the cook’s instructions to use a pinch of salt in the pancake batter; the way Sandy brushes her hair and puts on a string of pearls before sitting down to dinner with the officers; the fact that Rusty demands aviation fuel (PT boats used Packard engines adapted from airplanes). It is also beautifully filmed, with haunting shots of the shadowy and wet tunnels of Corregidor and some pulse-pounding sequences of PT boats dodging shell bursts.They Were Expendable turned out to be one of John Ford’s best films, but it was not a huge box office success when it was released at the end of 1945. It is a war movie in a minor key—subdued and somewhat melancholy. It matches the film’s subject matter: the American experience in the Philippines at the start of the war did not go well, either. No doubt, audiences who had just seen the terrible war come to an end were not eager to relive its grim early days, no matter how beautifully photographed.
Restoration of John Wayne’s ‘The Searchers’ to Premiere at 2024 TCM Classic Film Festival – My Blog
John Wayne’s 1956 Western “The Searchers” will debut a new restoration as part of the 2024 TCM Classic Film Festival in April.This marks the second Wayne film to receive a premiere of a restored print at the yearly event that takes place on Hollywood Boulevard. Last year’s opening night feature was a 4K restoration of Wayne’s 1959 film “Rio Bravo.”This year’s festival theme is “Most Wanted: Crime and Justice in Film.” Alongside “The Searchers,” TCM announced that Frank Capra’s 1934 film “It Happened One Night,” Elia Kazan’s “On the Waterfront” and the 1974 musical documentary “That’s Entertainment!” will also screen as part of the four-day festival in April.It’s unknown if “The Searchers” will be the film’s opening night movie, though considering “Rio Bravo” was also a restoration last year it would make sense that Warner Bros. would continue to debut new 4K prints of their films as part of the event’s opening night.This year’s TCM Classic Film Festival marks the return of the event after the classic film network underwent significant changes behind the scenes this year. In June, TCM’s senior vice president of programming and content strategy Charles Tabesh, vice president of studio production Anne Wilson, vice president of marketing and creative Dexter Fedor and TCM Enterprises vice president Genevieve McGillicuddy were all laid off, alongside TCM’s general manager Pola Chagnon leaving the company after 25 years.From there, stories started to tumble out that the network was in the crosshairs of a series of cost-cutting measures implemented by Warner Bros. Discovery. In the wake of widespread outcry from fans, both Tabesh and McGuillicuddy were offered their positions back. It was also announced soon after that Warner Bros. Pictures heads Pamela Abdy and Michael De Luca would be overseeing the network, with input from world-class directors including Martin Scorsese and Steven Spielberg.The TCM Classic Film Festival enters its 15th year in 2024 and will also take place during the network’s 30th anniversary.The TCM Classic Film Festival will take place in Hollywood April 18-21.
John Wayne’s spanking of co-star ‘so authentic she had bruises for a week’ – My Blog
Back in 1963, John Wayne starred in a Western comedy loosely based on William Shakespeare’s The Taming of the Shrew.Duke played an ageing rancher called George Washington McLintock, a wealthy self-made man facing a number of issues.High-ranking government officials, his own sons and local Native Americans all want a piece of his huge farmstead.Meanwhile, his wife (played by regular collaborator Maureen O’Hara) who separated from him two years prior, is back on the scene demanding custody of their daughter.McLintock! celebrates its 60th anniversary this week, as celebrated by the John Wayne estate on Instagram.A recent post read: “Did you know? Although often seen as simply a knockabout comedy, John Wayne also intended the film to be a statement on his disapproval of the negative representation of Native Americans in previous westerns he had no creative-control over, and his disapproval of wife-beating and marital abuse from either spouse.”A film of its time, McLintock famously has a scene, as captured on its poster, of Wayne’s George publicly spanking his wife played by O’Hara.According to his co-star’s autobiography, this scene was “completely authentic” with Duke carrying it out with “such gusto”, that she “had bruises for a week.”
Martin Scorsese’s Favorite John Wayne Western – My Blog
SUMMARY
Martin Scorsese considers John Wayne’s The Searchers to be the best Western ever made, describing it as a masterpiece with a deeply painful core. The Searchers has had a significant influence on Scorsese’s movies, inspiring scenes and characters in films like Taxi Driver and Mean Streets. The Searchers is also a favorite among the “movie brats,” a group of influential directors including Spielberg and Lucas, who cited it as a major influence.
SCREENRANT VIDEO OF THE DAY
Martin Scorsese’s favorite Western starring John Wayne has had a big influence on his career. Scorsese hasn’t made his passion for cinema or filmmaking a secret, and he is essentially a living archive of the medium’s history. He loves everything from the trashiest B-movie to the most highbrow drama, which is something that’s reflected in Martin Scorsese’s own movies. He has helmed everything from gangster epics to psychological horrors to biopics and everything in between.
One genre he hasn’t really dipped a toe into is a Western, which is likely down to the decline of the genre itself than Scorsese avoiding the genre. About the closest he’s come is his 2023 epic Killers of the Flower Moon, though far from being a black-and-white adventure about cowboys righting wrongs, it’s a devastating true-life drama. Scorsese has professed his admiration for a few classic Westerns (via Far Out) such as Ride the High Country or Marlon Brando’s sole directorial outing One-Eyed Jacks, but there’s one that holds a truly special place in his heart.Scorsese Believes John Wayne’s The Searchers Is The Best Western Ever Made
In 2013, Scorsese guest-reviewed a book about John Wayne Western The Searchers for THR, where he proclaimed it a masterpiece but that “Like all great works of art, it’s uncomfortable. The core of the movie is deeply painful.” The premise of the movie sees Wayne’s Civil War vet Ethan Edwards and his nephew Martin (Jeffrey Hunter) setting out to rescue his kidnapped niece. It might sound like the setup for a classic Western adventure, but John Ford’s The Searchers deals with some dark themes, with Wayne portraying the most ruthless character of his career as the deeply prejudiced and revenge-addicted Ethan.
Scorsese has often called The Searchers one of his favorite Westerns, in addition to being one of the greatest movies of all time, period. From the gorgeous cinematography, the evergreen themes and Wayne’s haunting central turn, it’s a film the director finds himself coming back to decades after he first watched it. The Searcher’s ending has been much discussed among film scholars too, with Scorsese himself feeling the shot of Ethan turning and leaving through the door turns it into a “ghost story;” the character has fulfilled his purpose but is now doomed to wander the deserts alone, like a spirit.The Searchers Inspired Scorsese’s Own Movies
The film made a major impression on Scorsese when he saw it as a boy, and its influence can be spotted in his own work. His debut Who’s That Knocking at My Door features a scene where protagonist J.R. (Harvey Keitel) talks about both John Wayne and The Searchers in great detail, while the Ford movie appears again in Scorsese’s crime drama Mean Streets from 1973. The Searchers was a direct influence on Scorsese’s Taxi Driver, with the journey of Robert De Niro’s Travis being a mirror of Ethan’s. He’s another loner filled with anger and hatred, looking to rescue a young girl in Jodie Foster’s Iris.The movie ends with Travis rescuing Iris in the bloodiest manner possible, and like Ethan, the movie leaves him on an ambiguous note. The influence of The Searchers can also be felt in the director’s attraction to anti-heroes and flawed protagonists, who may see themselves as fundamentally good men or heroic, despite the appalling acts of violence they commit or the selfishness they display.The Searchers Is A Favorite Of The “Movie Brats”
The Searchers was well-received upon its initial release, but it soon came to be recognized as an American classic. The late ’60s and ’70s saw the rise of the so-called “movie brats,” who were a group of talented young directors who were also nerds for the medium. Members of this group include Scorsese, Steven Spielberg, Francis Ford Coppola, George Lucas, John Milius, Paul Schrader and many more. What’s notable about this group is how many of them cited The Searchers as a favorite.
Breaking Bad creator Vince Gilligan also cited The Searchers as a major influence on Breaking Bad’s finale.
According to The Telegraph, Spielberg claims he rewatches The Searchers before starting work on a new movie, while Milius and Schrader – who penned Taxi Driver – have also sung its praises. The movie was a huge influence on Lucas’ Star Wars, which can be found in its basic promise – a young man and older mentor set out to rescue a young woman – its desert vistas and the sequence where Luke (Mark Hamill) discovers his burnt-out family homestead. Star Wars was a mash-up of many influences from samurai epics to movie serials, but Westerns like The Searchers played a particularly large role in the movie.
Source: Far Out, THR, The Telegraph
The SearchersRelease Date:1956-03-13Director:John FordCast:John WayneRating:pg-13Runtime:119minutesGenres:Western, DramaWriters:John FordBudget:$3.75millionStudio(s):Warner Bros. PicturesDistributor(s):Warner Bros. Pictures