John Wayne

John Wayne’s Stagecoach Stunts Sparked A Battle With The Studio

It’s rare to see John Wayne back down in a standoff, but that’s exactly what happened when shooting one of his most revered films. By 1939, Wayne was no stranger to Westerns, though he wasn’t yet a household name. Wayne had already appeared in a string of uncredited roles in films by the legendary director John Ford in the late ’20s. So, when Ford made his triumphant return to the Western genre with “Stagecoach” he tapped Wayne for the lead character, Ringo Kid.
Casting Wayne was the first of a lengthy series of battles with United Artists. The studio wanted a big name for the film, but Ford had a feeling about the charismatic 32 year old and insisted on him for the role. Ford introduces viewers to Wayne in dramatic fashion, with a zoom-in on a rifle-wielding Ringo Kid in front of a gorgeous landscape of Monument Valley plateaus (where many of Ford’s Westerns were shot). When Marshall Curley says, “Hello, Kid” to Ringo, he might as well have been speaking collectively for U.S. film audiences. We called it Wayne’s best movie moment ever.
The fight to secure Wayne for the role of Ringo Kid wasn’t the last for Ford or Wayne in the production of “Stagecoach.” Behind the scenes, a standoff between Wayne and the studio took place that rivaled a climax from one of his films. Only this time, The Duke didn’t come out on top.
Wayne was doing nearly all of the stunts
United ArtistsAlthough not considered a single-location film (movies with narratives that take place entirely in one location), much of “Stagecoach” takes place inside the cramped confines of the titular horse-drawn carriage. It’s there that Ford introduces us to a collection of flawed characters traveling from Arizona to New Mexico. To get there, they must pass through what was labeled dangerous Apache country (in an unfortunate but common classical Hollywood stereotype of Native Americans as bloodthirsty savages).
The stagecoach group includes a prostitute, a drunken doctor, a crooked banker, and a whiskey salesman. Along the way, they pick up Ringo Kid, who recently escaped from prison to avenge the murder of his father and brother. When they lose their cavalry escort, Ringo leads the group to their destination and exacts revenge against the men that killed his family. That’s where the typical Western shootouts and action sequences ensue.
In the John Wayne biography “Shooting Star,” author Maurice Zolotow explains that a battle raged behind the scenes over Wayne’s stunt work in the film. Zolotow writes:
“Ford permitted Wayne to do many of his own stunts, though he took the risk of Wayne breaking a leg and holding up production. He did it against the opposition of [United Artists producer Walter] Wanger because he knew it would give Duke a better sense of reality, though he insisted on [stuntman Yakima] Canutt doing the most hazardous stunts.”
But Wanger pushed back, setting up a real-life standoff that was befitting of a dusty Old West thoroughfare.
‘I’m not an actor … I’m a stuntman’
United Artists“Stagecoach” could be considered as much a drama as it is a traditional Western. Even so, there was plenty of action to keep Wayne and stunt coordinator Yakima Canutt busy. But the sight of their budding star jumping onto roofs made United Artists nervous. According to Zolotow:
“Visiting the set one morning, out in Monument Valley, producer [Walter] Wanger was shocked to see Duke playing a scene in which he leaped out of the stagecoach and climbed on the roof. ‘Jack,’ he said to the director, ‘I want you to get Wayne to stop stunting. He is too valuable to lose.’”
Ford told Wanger that he’d have to tell Wayne himself. The veteran producer didn’t back down. “Duke, you are going to be an outstanding star. I do not want you to do any more of these stunts,” Wanger told Wayne. “My God, if you broke a leg or an arm it would hold up the picture for weeks.”
The young actor, starring in his biggest film to date, boldly responded to the producer as only The Duke could. “Now, Mr. Wanger, there is no need for you to worry,” Wayne answered, as if in character. “I can handle myself. I been ridin’ horses and stuntin’ for years. I’m not an actor. I don’t act. I react. I’m just a stuntman.”
Despite Wayne’s protest, Wanger persisted. Ford eventually stepped in so they wouldn’t lose production time and convinced Wayne to let his stunt double do most of the work. It was a rare defeat but ultimately a win for The Duke. The film cemented his status as a Western icon and is included on the U.S. Library of Congress National Film Registry for its cultural significance.

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.