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John Wayne

John Wayne picks his favourite John Wayne films

Due to his continued dedication to honing his craft, John Wayne soon became synonymous with the western genre, closely working with John Ford on pictures such as The Searchers and The Man Who Shot Liberty Valance to create a legacy like no other. Wayne was one of the biggest stars of the silver screen during Hollywood’s Golden Era, starring in over 170 films, and his name still carries huge weight to this day.
After injuring himself in a bodysurfing incident, Wayne lost his university scholarship, and his sporting career was no longer viable, forcing him to withdraw from education. However, because his coach, Howard Jones, often gave western star Tom Mix free tickets to USC games, Ford and Mix returned the favour by hiring Wayne as a prop boy. Following several small or uncredited roles in silent films, he received his first leading role in 1930’s The Big Trail after director Raoul Walsh saw Wayne working behind the scenes.
Due to the commercial failure of The Big Trail, Wayne spent the early years of his career playing minor roles in big films or leading cheaply-made Poverty Row westerns. Within these films, he helped to pioneer the idea that good characters could fight with the same intensity as the bad guys. Wayne stated (via archive.org), “Before I came along, it was standard practice that the hero must always fight clean. The heavy was allowed to hit the hero in the head with a chair or throw a kerosene lamp at him or kick him in the stomach, but the hero could only knock the villain down politely and then wait until he rose. I changed all that. I threw chairs and lamps. I fought hard, and I fought dirty. I fought to win.”
His burgeoning influence on cinema was evident from the beginning, although it was not until 1939 that he truly broke into the industry with his role in Ford’s landmark western Stagecoach. Soon enough, Wayne was a symbol of machismo and personified the all-American man, conveying the ideals and values of his country.
The actor once selected his favourite roles from his career in an interview with Phil Donahue in 1976. Of course, his first pick was the film that allowed him to emerge into the spotlight, Stagecoach. He stated, “I love Stagecoach naturally because I stepped on that stagecoach, and it carried me a long way.” The film was shot in Monument Valley in the Southwest of America and followed a group of stagecoach passengers, including Wayne’s Ringo Kid, who is picked up after his horse leaves him stranded. According to actor Louise Platt, in a letter recalling the film’s production, Ford believed that Wayne would become “the biggest star ever because he is the perfect ‘everyman’.” Although Stagecoach lost out on winning ‘Best Picture’ at the Academy Awards, it scooped up ‘Best Supporting Actor’ for Thomas Mitchell and ‘Best Score’.
Another of Wayne’s favourite films he starred in was Hatari! from 1962. Directed by Howard Hawks, Wayne appears as a game catcher in Africa. Shot in Tanganyika, now Tanzania, the film became the seventh highest-grossing movie of the year. Hatari! is not regarded as one of Hawks’ greatest films, a title much more likely to be given to another of his collaborations with Wayne – Rio Bravo. Still, Wayne loved the film, although it appears that he loved the shooting location more than the final product. “I like Hatari! which was a picture we made in Africa because I had a three-month safari free. I mean, rich men don’t get that, you know.”
Finally, his last pick was Ford’s The Quiet Man, released in 1952. The romantic comedy follows Wayne’s Sean Thorton as he travels from Pittsburgh to his native Innisfree in Ireland to buy his family’s farm. Upon its release, Wayne was praised for his performance, although contemporary critics have noted that his character displays glaringly misogynistic attributes through his exertion of control over the women around him. Ford won the ‘Best Director’ Oscar for the film, and Winton C. Hoch and Archie Stout took home ‘Best Cinematography – Colour’ for their stunning shots of the Irish countryside. Wayne explained his love for shooting the film: “I got to work with all the Abbey Players and some forebears of my own family.”
John Wayne’s favourite John Wayne films:

Stagecoach (John Ford, 1939)
Hatari! (Howard Hawks, 1962)
The Quiet Man (John Ford, 1952)

Phil Donahue interviews John Wayne (1976)

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John Wayne

‘True Grit’ Star Robert Duvall Spoke Highly of John Wayne

One of Robert Duvall’s early breakout roles was in True Grit. You remember Ned Pepper, don’t you?

Folks ask Duvall about his other work, like his performances in Lonesome Dove, The Godfather or Tender Mercies, which won him an Academy Award.

But Duvall also was brilliant in True Grit. John Wayne’s character Rooster Cogburn didn’t like Ned Pepper one bit. And sometimes The Duke didn’t like Duvall, off-screen, either.

“The director and I didn’t get along — I don’t get along with a lot of directors, but I do OK! ,” Duvall told a Virginia TV station in 2016. “But John Wayne was great working with. He was a good man and a very good natural actor, a lot better than a lot of people gave him credit for.

“He was an institution unto himself,” Duvall said of The Duke. “And that final film he did, The Shootist, it was wonderful what he did. So he was a good guy to work with, absolutely.”

We probably should offer a bit more history. Wayne didn’t like Duvall arguing with the True Grit director Henry Hathaway. He threatened to punch the younger Duvall if he didn’t shut up and do as the director told. Wayne also didn’t like some of the other casting choices, namely Kim Darby.

Remember That ‘One-Eyed Fat Man’ Scene?

However, there’s at least one famous scene, one famous line from True Grit that everyone remembers decades after the movie first hit the screens. Ned Pepper was an infamous outlaw. He added Tom Chaney, who killed Mattie’s father, to his gang of criminals. Mattie (Kim Darby) went to Fort Smith, Arkansas and hired Cogburn, the aging U.S. Marshal, to capture Chaney. Pepper, along with Chaney and the rest of the thugs, were hanging out in Indian Territory in what is now in Oklahoma, just west of Arkansas.

Now, about that True Grit scene and dialogue. Let’s refresh the memory:

Ned Pepper : “What’s your intention? Do you think one on four is a dogfall?”

Rooster Cogburn : “I mean to kill you in one minute, Ned. Or see you hanged in Fort Smith at Judge Parker’s convenience. Which’ll it be?”

Ned Pepper : “I call that bold talk for a one-eyed fat man.”

Rooster Cogburn : “Fill your hand, you son of a bitch!”

Pepper ends up killing Cogburn’s horse. But Cogburn wounds Pepper and shoots most of his men. Glen Campbell’s La Boeuf ends up killing Pepper.

The Duke earned an Academy Award for Best Actor for Rooster Cogburn. In his acceptance speech, he told the crowd “Wow. If I’d have known that, I’d have put that patch on 35 years earlier.” Cogburn’s eye patch was very much part of his character, which is my Pepper described him as a “one-eyed fat man.”

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John Wayne

John Wayne Let ‘Liberty Valance’ Director John Ford Bully Him for 1 Reason

In The Man Who Shot Liberty Valance, John Wayne helps James Stewart stand up to the title outlaw. Wayne was the ultimate tough guy in movies but in real life, there was one man who always kept him in his place. It just so happened that Wayne made 14 movies with that man, director John Ford. Their last was the classic Liberty Valance, and Wayne was still taking Ford’s bullying then.

Paramount Home Entertainment released The Man Who Shot Liberty Valance on 4K UHD on May 17. The 4K edition of the film is so clear you would think the world was really black and white in 1962 and they just captured it on film. The home video release also includes a new interview with Leonard Maltin explaining Wayne’s relationship with Ford, and some archival material with his co-star James Stewart backing it up.

John Wayne was in good company taking John Ford’s abuse in ‘The Man Who Shot Liberty Valance’ or any film

Maltin explained that Wayne was hardly singled out by Ford. It was Ford’s reputation. 

“John Ford is the only filmmaker to have four Academy Awards for Best Director so he was held in the highest esteem by critics, pundits, and the audience too because he made films for the people,” Maltin said. “John Wayne’s eldest son Michael once told me he thought John Ford was a great director between action and cut. Aside from that, he was an absolutely quixotic, cantankerous, sometimes outright mean-spirited guy. He teased and goaded everyone on the set and he was especially nasty to his protege, John Wayne.”

According to Maltin, Wayne just took it because he credited his whole career to Ford. Wayne became the king of westerns after that.

“But Wayne was eternally grateful to Ford for giving him his first great opportunity in this film Stagecoach so he never talked back,” Maltin said

Bullying might have gotten the best performance out of John Wayne in ‘The Man Who Shot Liberty Valance’

Ford’s grandson, Dan Ford, is also in the bonus features. He explained how his grandfather’s bullying behind the scenes may have helped Wayne’s performance in The Man Who Shot Liberty Valance.

“Ford would use anything he could to get what he wanted out of an actor,” Dan said. “If he wanted to put him down, which is basically where John Wayne is in this movie the whole way through, he’s put down. He’s the guy who doesn’t get the girl, he’s the guy that plays the drunk, he’s the guy who only has one function. That’s to kill Liberty Valance. He’s an action hero but he’s not really the lead. Jimmy Stewart’s the hero. Ford would probably work on Wayne to keep him in that frame of mind.”

The late director and film historian Peter Bogdanovich is also included on the Man Who Shot Liberty Valance 4K UHD. Bogdanovich reminds fans that Ford would have wanted to take Wayne down a peg.

“People wonder why he was so tough on John Wayne,” Bogdanovich said. “Well, John Wayne was a huge star so it was Ford’s way of showing his control by attacking him and by minimizing him.”

Jimmy Stewart finally got it on ‘The Man Who Shot Liberty Valance’

Stewart tells this story of working on The Man Who Shot Liberty Valance. Wayne marveled that Stewart had made it through most of the shoot without getting on Ford’s bad side. 

“Remember in Liberty Valance, Duke came up to me and said, ‘Jesus, here we are, we’ve got three more days on the picture and you’ve never been in the barrel. Everybody else gets it and everything and you come out of it clear. What are you doing? Are you bucking for something?’” Stewart said. “I said, ‘I don’t know.’”

Stewart’s tenure as golden boy on the set of The Man Who Shot Liberty Valance was about to come to an end anyway. 

Well, that very day, he came up and Woody Strode, at the end with the funeral, Woody Strode had on a blue overalls. He came up to me and said, ‘What do you think of Woody’s outfit?” For some reason, I’ll never know why. I said, ‘It looks a little like Uncle Remus, doesn’t it?’ That’s all. He said, ‘Oh?’ He called everybody together, called the whole company together, and said, ‘Ladies and gentlemen, what do you think of Woody’s outfit?’ They all said fine, fine. He said, ‘Well, there’s an actor in the company that doesn’t like it. I wanted to point him out to you. Now that you know this actor doesn’t approve of Woody’s costume, now we can all go back to work, thank you very much.’ This lasted until the end of the picture with me. 

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John Wayne

A John Wayne Movie Classic Actually Reduced His Role From the Story It’s Based On

The John Wayne movie classic The Man Who Shot Liberty Valance has many memorable moments. The most noteworthy is the whole theme of “print the legend.” Wayne makes an impression as Shinbone cowboy Tom Doniphon, who played a pivotal role in the life of Senator Ransom (James Stewart). It turns out the adaptation of Dorothy M. Johnson’s short story gave Doniphon even less to do in the movie, but Wayne still made those moments count.

[Warning: This article contains spoilers for The Man Who Shot Liberty Valance.]

Paramount Home Entertainment is releasing The Man Who Shot Liberty Valance on 4K UHD on May 19. The 4K edition makes the black and white movie so sharp that the shadows in the title shooting scene are extra dark and moody. In the bonus features, historian Scott Eyman explains how the adaptation reduced Wayne’s role. 

‘The Man Who Shot Liberty Valance’ story became a John Wayne’s movie

Adapting a short story into a two hour film often requires embellishing the source material. The Man Who Shot Liberty Valance actually streamlined it. Scott Eyman wrote a biography of director John Ford, so he knew all about the differences between the story and the film. 

“The point of the story is basically the same point as the film,” Eyman said. “The execution is quite different. Ford and his writers altered one crucial aspect. In the story, the John Wayne character is kind of the fairy godfather to the Jimmy Stewart character, keeps nudging him along on the road from frontier lawyer to United States senator, constantly showing him the way and helping him out.”

‘The Man Who Shot Liberty Valance’ isn’t completely a John Wayne movie

The western begins with Ransom attending the funeral of Doniphon. When reporters ask how he knew Doniphon, the story flashes back to Ransom’s arrival in Shinbone. Outlaw Liberty Valance (Lee Marvin) roughed him up and terrorized the town. 

When Doniphon was around, that was enough to keep Valance in line. Doniphon tried to convince Ransom to pick up a gun to defend himself, but Ransom wanted to use the law to address Valance. Finally, Valance confronted Ransom in the street. Ransom pulled the trigger of his gun and shot Valance dead, or so it seemed.

At the end of the film, Doniphon reveals he was standing in the shadows and fired his gun at the same time. Now, it makes much more sense that experienced gunslinger Doniphon hit his target than amateur shooter Ransom. But, Doniphon let Ransom have the credit, and the heroic act set him on a course for political success. When the reporters heard the truth, they killed the story, stating, “When the legend becomes fact, print the legend.”

The Man Who Shot Liberty Valance is both a Wayne movie and a Stewart movie. Both have equal parts, though the story centers around Stewart’s character with Wayne’s coming in for backup.

‘The Man Who Shot Liberty Valance’ made its point 

The film adaptation made its point without making Doniphon directly involved in every aspect of Ransom’s life. It proved to be a signature role for Wayne, too.

“That doesn’t happen in the film,” Eyman said. “Basically, the John Wayne character in the film commits two acts that alter Ransom Stoddard’s life and that’s all and that’s enough. So it made the Wayne character a little less proactive in the film as opposed to the story.”

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