Few actors compare to John Wayne, both in terms of ability and popularity. Here are The Duke’s most memorable movies.John Wayne or simply “The Duke” is one of the greatest actors of all time, appearing in over 150 movies and starring in over 70 movies during his career. He was brilliant in every single role, whether he was a cowboy, a marshal, a colonel, or any other type of character. Fans of all ages love The Duke for his commanding presence on-screen and good heart off-screen.

1: The Green BeretsJohn Wayne plays a Green Beret colonel in “The Green Berets”Despite its critical failure and protests about its subject matter, The Green Berets was a commercial success when it was released in 1968. Based on a 1965 novel, the movie was also directed by Wayne, who wanted to show the positive side of those who served in South Vietnam at the time.

Wayne plays the colonel of a Green Beret unit who’s sent to Vietnam to support various operations. He’s joined by a cynical newspaper reporter, played by David Jansen. His unit goes on an espionage mission and shores up a front-line camp with help from a character portrayed by George Takei.

2: The Searchers“The Searchers” is considered one of the most classic movies made.John Ford’s The Searchers was not only a commercial success when it premiered in 1956. It also became one of the most influential films of the 20th century. It has been named one of the best Westerns and top movies of all time.

Wayne plays a Civil War veteran who goes on a hunt for his niece, played by Natalie Wood. He’s joined by his adoptive nephew, who is played by Jeffrey Hunter. Along the way, the pair encounters numerous obstacles in their search.

3: Red RiverJohn Wayne and Montgomery Clift in “Red River.”Gunslinging wasn’t the only thing John Wayne did in his Westerns. For the most part, that was a small part. The rest of these films focused on the human condition and how they conquered the harshness of the land at that time.

Red River is an example of this type of film. Directed by Howard Hawkes, it’s loosely based on the first cattle drive from Texas to Kansas along the Chisholm Trail. Most of the tension comes from the relationship between Wayne’s character and his son, played by Montgomery Clift. The movie was preserved by the National Film Registry thanks to its historical significance.

4: StagecoachJohn Wayne was beginning to get his acting chops in the 1930s, working as an extra and starting to star in a few B movies. In 1939, he got his break as Ringo Kid, a young outlaw out for revenge for his father and brother’s death in John Ford’s Stagecoach.

Stagecoach focused on a diverse group of individuals who were all aboard the same stagecoach and are forced to go through several trials and tribulations together, including the birth of a baby. The role set the young actor on a path to success and Wayne soon became a household name.

5: El DoradoThe 1960s were full of great western actors such as John Wayne, Steve McQueen, James Stewart, Clint Eastwood, and Robert Mitchum. Having John Wayne and Robert Mitchum in the same movie proved to be a wise decision, with 1966’s El Dorado became a huge hit among western fans.

John Wayne played Cole Thorton, a gunslinger for hire, who returns to the town of El Dorado as he was hired by wealthy landowner Bart Jason. But when Cole realizes he would have to fight his old friend the drunken sheriff, J.P. Harrah played by Robert Mitchum, he turns down the offer. Cole joins forces with J.P. to protect the town from the bully Bart Jason.

6: The ShootistJohn Wayne had a career that spanned for 4 decades, with his big break coming in 1939 as Ringo Kid in Stagecoach and his last role being J.B. Books in the 1976 film The Shootist. J.B. Books is an old gunslinger who finds out he has cancer, but this old gunfighter isn’t going out without a fight.

The American hero, John Wayne, passed away in 1979, only a few years after filming his final movie. That said, his legacy will never be forgotten. As they say, “when the legend becomes fact, print the legend.”

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…

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.