John Wayne

John Wayne Held One Writer In Higher Regard Than Any Other

By the end of the 1940s, John Wayne was one of the biggest stars in Hollywood, and could thus afford to be picky about his collaborators. He had a rotating company of actors and a number of preferred directors, but from 1947 onward there was one screenwriter he valued above all others.
If you’re not a Wayne devotee, you’re probably unfamiliar with the work of James Edward Grant. He was an Irish-American writer who, early in his career, rose quickly through the ranks of Chicago journalists during the 1920s. At the age of 21, he was covering the Windy City’s ultra-violent organized crime scene via a column titled “It’s a Racket.” He fired off essays and stories for top publications like The Saturday Evening Post, but wasn’t above churning out pulp yarns for low-aiming magazines like Detective Fiction Weekly. Grant fit the cliche of the prolific newspaperman to a T; he was a hard-drinking, chain-smoking character who lived to tell stories.
Grant’s distinctive voice and prolific nature caught the eye of Hollywood, where Grant proved highly employable. He earned his first major credit in 1935 when director Sam Wood turned his story “Whipsaw” into a film starring Spencer Tracy and Myrna Loy. After that, he worked steadily, knocking out multiple scripts a year for largely forgettable programmers until he hooked up with Wayne for 1947’s “Angel and the Badman.”
Capturing the voice of The Duke
Republic PicturesThe Western about a badly wounded gunman who’s nursed back to health by a young Quaker woman struck The Duke as original and morally in line with his beliefs – which, given its anti-violent message, points up what a contradictory man Wayne could be. Edwards immediately became not only Wayne’s most trusted writer but a dear friend. They shared a conservative worldview, and a fondness for booze and cigarettes. Edwards wrote many scripts for Wayne, and punched up the star’s dialogue for films that didn’t originate with him. When they weren’t making movies, they vacationed together. They were kindred, cantankerous spirits.
In Scott Eyman’s “John Wayne: The Life and Legend,” The Duke’s son, Patrick, noted, “In my dad’s opinion, Jimmy was the best writer for him. My dad could just say his dialogue.” Eyman hits on what made Edwards so compatible professionally with Wayne:
“The essence of the emerging Wayne character was strength and a knowledge of the way the world works, communicated in as few words as possible. The trick was to do it without overasserting the actor’s natural dominance. Grant fit right in with Wayne’s core group, as he was cut from the same cloth: hard-drinking, conservative, pugnacious, and – mostly – Irish.”
A partnership that became a friendshipRepublic PicturesEdwards remained in Wayne’s corner until he died of lung cancer in 1966. He wrote some of Wayne’s most memorable movies (e.g. “Sands of Iwo Jima,” “Flying Leathernecks” and “Hondo”), though, interestingly, he earned his only Oscar nomination for writing the Glenn Ford-Shirley MacLaine vehicle “The Sheepmen.”
While none of the Wayne-Edwards films I’ve seen rise to the level of “classic,” they tend to be hugely enjoyable showcases for The Duke’s swaggering, take-charge nature. The Wayne of legend, the weathered old cowboy who could out-draw and out-punch the nastiest of villains, took shape to a significant degree under Edward’s aegis – and according to the screenwriter’s son, Colin, it was all a labor of love. “After my dad died, Duke said my old man was the best friend he ever had.”
Read More: https://www.slashfilm.com/1053002/john-wayne-held-one-writer-in-higher-regard-than-any-other/

John Wayne

The Legend Lives On: John Wayne is Still Alive!

In a world where legends never fade, we can’t help but wonder: what if John Wayne, the iconic figure of American cinema, is still with us in spirit? The Duke, known for his larger-than-life roles and undeniable charisma, continues to inspire generations.

From his unforgettable performances in classics like “True Grit” and “The Searchers” to his indomitable spirit, Wayne’s essence is woven into the fabric of Hollywood and American culture. His rugged persona, moral fortitude, and unwavering courage resonate deeply, reminding us of the values he embodied.

While we may not see him on the silver screen today, Wayne’s legacy lives on through the countless actors he inspired and the stories he helped tell. His films are timeless, bringing joy and adventure to audiences around the world.

So, as we celebrate the enduring impact of John Wayne, let’s keep his spirit alive in our hearts. Whether you’re watching one of his classics or sharing a favorite quote, remember that the legend of John Wayne will never truly die. Here’s to the Duke—forever a part of our cinematic history!

John Wayne

Why John Wayne Turned Down the Chance to Work With Clint Eastwood

Clint Eastwood and John Wayne are the two biggest legends in the history of Western movies, however, they never worked together. The duo did have the opportunity to work together once in the 1970s. Here’s why the film never came to fruition.

How John Wayne responded when Clint Eastwood tried to work with him

Firstly, a little background. According to the book John Wayne: The Life and Legend, it all starts with Larry Cohen. Though Cohen is not a widely known director like Steven Spielberg or Quentin Tarantino, he’s a huge name to fans of B movies. He directed famous B movies like The Stuff, Q: The Winged Serpent, It’s Alive, and God Told Me To. He also wrote a script called The Hostiles shortly after Eastwood released his classic High Plains Drifter.

The Hostiles was about a gambler who wins half of an estate of an older man. The gambler and the older man have to work together despite the fact that they don’t like each other. Eastwood optioned the screenplay with the intent of playing the gambler alongside Wayne as the older man.

Eastwood sent a copy of the script of The Hostiles to Wayne. Although Eastwood felt the script was imperfect, he saw its potential. However, Wayne was not interested. Eastwood pitched the film to Wayne a second time and Wayne responded with a letter. Wayne’s letter complained about High Plains Drifter. Wayne was offended by the film and its portrayal of the Old West as a cruel, violent place.

John Wayne

Ann-Margret Refused to Call John Wayne ‘Duke’ While Introducing 1 of His Movies

Ann-Margret once starred in one of John Wayne’s lesser-known movies. However, she refused to call him by his popular moniker Duke. Here’s a look at the film they made together — and why she declined to call him by a nickname.

The one time Ann-Margret and John Wayne made a movie together

Ann-Margret is probably most known for her work in musicals, specifically Bye Bye Birdie, Viva Las Vegas, and The Who’s Tommy. However, she also dabbled in the Western genre. She starred alongside Wayne in the mostly forgotten movie The Train Robbers.

Wayne was also known as The Duke or just Duke. According to USA Today, the nickname was derived from his childhood dog. It stuck with him for many years. It continues to be used today — even on the box covers of the DVDs for his movies.

John Wayne | Silver Screen Collection/Getty Images

During an interview with Interview Magazine, Ann-Margret explained why she didn’t refer to the Rio Bravo star by this famous name. “When I came to this country, first of all, mother and I didn’t know English,” she said. “I would curtsey, then say, ‘Thank you,’ and then when I was leaving, curtsey. For example, we went to Dallas to introduce a film I did with John Wayne. And I never called him Duke. I just couldn’t. That’s the way I was raised. When you meet someone, you say either Mr. or Mrs. or Miss. You stand up.”

Ann-Margret revealed she treated other famous people in much the same way. For example, she worked with director George Sidney on Bye Bye Birdie and Viva Las Vegas. She always called him Mr. Sidney.

What Ann-Margret thought about John Wayne

Ann-Margret refused to use Wayne’s most famous moniker. However, she had a positive view of the actor. During an interview with Fox News, she was asked what she expected when she met Wayne. “Oh, I didn’t know what to expect,” she revealed. “But when he hugged me, it’s like the world was hugging me. He was so big and wide with that booming voice.

“We were shooting in Durango, Mexico and my parents came down to visit me,” she added. “He was so great with my parents. So absolutely welcoming and gentle with them. And anybody who was great to my parents was on a throne in my eyes.”

How the world reacted to ‘The Train Robbers’

Wayne starred in many classic Westerns, including The Searchers, Stagecoach, and The Man Who Shot Liberty Valance. However, The Train Robbers is mostly forgotten. It didn’t gain a cult following like Once Upon a Time in the West or Dead Man. It wasn’t a critical success either, garnering a 33% rating on Rotten Tomatoes. However, Ann-Margret had some fond memories of making the film — even if she refused to call Wayne by his famous nickname.