John Wayne

John Wayne Almost Walked Away From One Of His Most Beloved Roles

Early Hollywood Westerns, a staple of the classical film era, largely stereotyped Native Americans as bloodthirsty savages. The growing popularity of post-World War II social problem films had the film industry reflecting on its portrayals of minorities, including Native Americans. The man synonymous with the Western introduced a film in 1956 that sent ripples throughout all of Hollywood and reinvented the genre.

John Ford’s 1956 film “The Searchers” looked like a typical western. It pitted “Cowboys vs. Indians” in a familiar landscape, the wide-open desert plains of the Monument Valley area of Arizona and Utah. But its content was vastly different than any Western we’d seen before.

In “The Searchers,” Ford presents complex themes and a racist protagonist played by an actor that audiences had become programmed to root for — “The Duke” himself, John Wayne. The role became career-defining for Wayne — not that he needed it –— because of the depth of the film. It begs the question: How much of an impact would “The Searchers” have had without “The Duke” involved? We almost found out.

The legacy of The Searchers

Jeffrey Hunter John Wayne sitting on horse

The legacy of “The Searchers” is that it is a social problem film as much as it is a Western, exploring the inherent racism of Western heroes. The film turns a mirror towards its own stubborn, racist characters, mostly though Ethan Edwards, played by Wayne. Edwards is an explicitly racist former Confederate soldier, motivated by killing Comanches while searching for his kidnapped niece. When he learns she is living among the Comanche, he threatens to kill her, justifying it with, “Livin’ with Comanches ain’t being alive.”

Ford presents a version of John Wayne that challenges masculinity rather than defines it. The typically strong, stoic hero portrayed by Wayne instead slips into a baneful, obsessive hunter intent on killing not only his enemy but his own kin. Ethan Edwards’ hatred for “the other” is greater than the love of his family, something even the staunchest Wayne fan surely struggles with.

The impact of “The Searchers” has permeated throughout Hollywood masculinity. It inspired a new wave of adult-themed Westerns that would continue to challenge social conventions, including Ford’s own 1962 film “The Man Who Shot Liberty Valance.” The narrative of Martin Scorsese’s “Taxi Driver” heavily echoes “The Searchers.” And Edwards’ redeeming line, “Let’s go home, Debbie” precedes Rocky Balboa’s “If I can change, and you can change, we all can change!” plea for foreign relations harmony in “Rocky IV” by nearly thirty years.

It’s hard to believe that John Wayne’s portrayal of Ethan Edwards, called by Martin Scorsese in THR as “the greatest performance of a great American actor,” almost didn’t happen.

Wayne almost wasn’t in the film

John Wayne holding Natalie Wood

On the film’s 60th anniversary, Newsweek revealed that John Wayne almost wasn’t in “The Searchers.” After being cast in the film he was offered the starring role in the Western “Seven Men from Now.” Because Ford and Wayne had such a close relationship — the two collaborated on more than a dozen films — Ford gave Wayne the chance to back out of “The Searchers.” Wayne kept his obligation and turned down the other film.

Randolph Scott was ultimately cast as the lead in “Seven Men from Now” and though the film opened to positive reviews, Newsweek points out, “It doesn’t come close to the legendary stats of ‘The Searchers.’”

Film critic Roger Ebert described Ethan Edwards as one of the most compelling character Ford and Wayne ever created. Ebert writes:

Did they know how vile Ethan’s attitudes were? I would argue that they did, because Wayne was in his personal life notably free of racial prejudice, and because Ford made films with more sympathetic views of Indians … I think it took a certain amount of courage to cast Wayne as a character whose heroism was tainted. Ethan’s redemption is intended to be shown in that dramatic shot of reunion with Debbie, where he takes her in his broad hands, lifts her up to the sky, drops her down into his arms, and says, ‘Let’s go home, Debbie.’”The film made such an impact that the American Film Institute ranks it as the 12th ranked film of all time and it was selected for preservation in the National Film Registry by the Library of Congress. And we got the performance of a lifetime out of John Wayne because he stuck to his guns and stayed loyal to a friend like only “The Duke” could do.

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.